{"id":95673,"date":"2021-04-28T10:02:30","date_gmt":"2021-04-28T08:02:30","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95673"},"modified":"2021-04-28T10:02:31","modified_gmt":"2021-04-28T08:02:31","slug":"b35","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b35\/","title":{"rendered":"Wesley Meuris"},"content":{"rendered":"\n

L\u2019une des meilleures entr\u00e9es dans le travail et les recherches de Wesley Meuris est \u00e0 n\u2019en pas douter son projet FEAK<\/em> (The Foundation for Exhibiting Art & Knowledge <\/em>– Fondation pour l\u2019exposition de l\u2019art et de la connaissance – ). C\u2019est en effet dans l\u2019\u00e9tude des strat\u00e9gies communes de classification monstration et diffusion d\u2019une \u0153uvre et\/ou de la connaissance que le travail de Meuris trouve sa force et sa coh\u00e9rence. Meuris articule donc une analyse des langages formels, implicites et spatialis\u00e9s que v\u00e9hiculent les structures et supports de monstration et d\u2019exposition. Le socle, la vitrine et autres vecteurs de display deviennent  des objets expressifs, \u00ab parlants \u00bb au-del\u00e0 de leur apparente et feinte neutralit\u00e9, pour assumer un statut d\u2019oeuvre artistique et symbolique en soi, canalisant et formatant un contexte sp\u00e9cifique de d\u00e9veloppement de notre subjectivit\u00e9 ou sensibilit\u00e9. 

Les \u0153uvres que nous pr\u00e9sentons ici sont tir\u00e9es d\u2019une exposition que Meuris a organis\u00e9e en 2020 dans sa galerie anversoise, Annie Gentils, Verticality<\/em><\/span>, qui, en quelque sorte, prolonge la r\u00e9flexion engag\u00e9e dans son projet Museum of the Futures<\/em> (Salle des Pas Perdus, Palais de Justice, Poitiers, 2016). Son titre nous am\u00e8ne d\u2019embl\u00e9e \u00e0 r\u00e9fl\u00e9chir sur le changement radical qui est en train de se produire dans notre le regard que nous portons sur le monde qui nous entoure. \u00c0 la qu\u00eate et au regard horizontaux qui caract\u00e9risent le rapport que l\u2019homme a entretenu avec son environnement lors de l\u2019Age des d\u00e9couvertes et de la colonisation, se substitue celui vertical bottom up \/ top down <\/em>que nous portons sur et depuis l\u2019espace, mais aussi vers ce qui est sour la surface de notre terre ferme ou de nos oc\u00e9ans.

Les \u00e9volutions environnementale amen\u00e9es par l\u2019anthropoc\u00e8ne qui s\u2019acc\u00e9l\u00e8rent ces derni\u00e8res ann\u00e9es acc\u00e9l\u00e8rent cette n\u00e9cessit\u00e9 pour les scientifiques de d\u00e9velopper une pens\u00e9e de la verticalit\u00e9 \u00e0 la recherche de solutions et perspectives \u00ab verticales \u00bb. <\/span>

Mais est-ce toujours la bonne approche ? Ne r\u00e9p\u00e8te-t-on pas les m\u00eames erreurs ? Que penser de cette fuite en avant verticale d\u2019un progr\u00e8s qui ne veut ou ne peut s\u2019arr\u00eater ni m\u00eame envisager de se ralentir ?

Verticality II <\/em>est un deuxi\u00e8me essai de cartographie concentrique des quelque 6000 satellites qui gravitent autour de la terre dans les diff\u00e9rentes orbites utilis\u00e9es par l\u2019homme.<\/span> Prolongeant la r\u00e9flexion engag\u00e9e par Meuris dans ses oeuvres ant\u00e9rieures, la pr\u00e9sentation du document scientifique adopte ici les canons de pr\u00e9sentation (encadrement, plexiglass) d\u2019une \u0153uvre d\u2019art pr\u00e9sent\u00e9e dans un contexte mus\u00e9al.

Les trois prints de la s\u00e9rie Debris<\/em> cartographient de fa\u00e7on graphique et esth\u00e9tis\u00e9e les cons\u00e9quences d\u00e9j\u00e0 dommageables du regard vertical que nous portons sur les nouveaux \u00e9cosyst\u00e8mes de l\u2019espace: la pollution de nos d\u00e9bris satellitaires pr\u00e9cis\u00e9ment<\/span>, une pollution qui nous est encore moins visible que celle que nous avons caus\u00e9e ici sur terre, et dont nous mesurons chaque jour davantage l\u2019impact n\u00e9faste.<\/p>\n\n\n\n

English<\/h2>\n\n\n\n

One of the best introductions to the work and research of Wesley Meuris is undoubtedly his ongoing project FEAK<\/em> (The Foundation for Exhibiting Art & Knowledge<\/em>). It is in fact in the study of common strategies for the classification, display and dissemination of a work and\/or knowledge that Meuris’s work takes on its strength and coherence. Meuris thus articulates an analysis of the formal, implicit and spatialized languages \u200b\u200bconveyed by the structures and supports for display and exhibition. The plinth, the showcase and other vectors of display become expressive objects, “speaking” beyond their apparent and feigned neutrality, to assume the status of artistic and symbolic work in their own right, channelling and shaping a specific context of development of our subjectivity or sensitivity. In other words, the contexts and the containers of art become its contents, and cause us to become aware of and to reflect on the way in which we structure and condition our way(s) of seeing.

The works that we present here are taken from an exhibition, Verticality<\/em><\/span>, that Meuris organized in 2020 at his Antwerp gallery, Annie Gentils, which, in a way, continues the ideas initiated in his Museum of the Futures <\/em>project (Salle des Pas Perdus, Palais de Justice, Poitiers, 2016). Its title immediately leads us to reflect on the radical change that is taking place in the way we look at the world around us. The quest and the horizontal gaze that characterized mankind\u2019s relationship with his environment during the Age of Discovery and Colonization, is replaced by the vertical bottom-up\/top-down view that we have on and from space, but also towards what is beneath the surface of our land or our oceans.

The environmental changes brought about by the anthropocene, which have become increasingly rapid in recent years, have accelerated this need for scientists to develop a thinking about verticality in search of \u201cvertical\u201d solutions and perspectives.<\/span>

But is this still the right approach? Are we not repeating the same mistakes? What to think about this vertical headlong rush of progress that is unwilling or unable to stop or even consider slowing down?

Verticality II<\/em> is a second attempt at the concentric mapping of the approximately 6,000 satellites that circle the earth in the various orbits used by humans.<\/span> Continuing the reflection undertaken by Meuris in his previous works, the presentation of the scientific document here adopts the canons of presentation (framing, plexiglass) of a work of art presented in a museum context.

The three prints in the D\u00e9bris<\/em> series graphically and aesthetically map the already damaging consequences of the vertical gaze that we have on new space ecosystems:<\/span> the pollution of our satellite debris, a pollution that is even less visible to us than the pollution we have caused here on earth, and whose harmful impact we are measuring more and more every day.<\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95673","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95673","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra"}],"about":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/types\/extra"}],"wp:attachment":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/media?parent=95673"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}