{"id":95676,"date":"2021-04-28T10:04:32","date_gmt":"2021-04-28T08:04:32","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95676"},"modified":"2021-04-28T10:04:32","modified_gmt":"2021-04-28T08:04:32","slug":"b37","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b37\/","title":{"rendered":"Nicol\u00e1s Lamas"},"content":{"rendered":"\n

Le travail de Nicolas Lamas dans l\u2019extr\u00eame vari\u00e9t\u00e9 des formes essentiellement sculpturales ou graphiques qu\u2019il peut prendre est tout entier travers\u00e9 par des lignes de force dialectique qui en font la coh\u00e9rence. Lamas travaille par mise en relation, collision, voire collusion d\u2019objets et ou d\u2019images trouv\u00e9es, au fil de ses errances et recherches, virtuelles ou physiques, sur le net ou dans le monde r\u00e9el. Destruction et r\u00e9paration ou r\u00e9silience coexistent dans les rencontres qu\u2019il organise afin de cr\u00e9er des t\u00e9lescopages inattendus, volontiers diachroniques, associant de fa\u00e7on r\u00e9currente des \u00e9l\u00e9ments fragmentaires d\u2019\u00e9poques, de mati\u00e8res et\/ou de registres diff\u00e9rents. L\u2019organique et l\u2019humain s\u2019associent et se confrontent \u00e0 des objets et composantes m\u00e9caniques voire \u00e9lectroniques, digitaux ou bioniques issus du monde d\u2019aujourd\u2019hui ou de demain, mais, in fine, tout aussi fragiles et p\u00e9rissables. La pens\u00e9e de l\u2019anthropoc\u00e8ne et de ses impasses n\u2019est jamais fort loin, et il est tentant d\u2019appr\u00e9hender son travail comme la constitution ou la reconstitution d\u2019une arch\u00e9ologie du futur, ou, plut\u00f4t, d\u2019une arch\u00e9ologie sp\u00e9culative et dynamique, en dehors du temps. Si des rencontres d\u2019objets qu\u2019il organise se d\u00e9gagent un \u00e9quilibre formel et m\u00e9taphorique, on pressent que ces \u00e9quilibres sont instables, en perp\u00e9tuelle reconfiguration et \u00e9volution.

Dans Empty Box<\/em>, un geste simple d\u2019\u00e9vidage et de d\u00e9coupe des contenus, textes et images d\u2019une pile de 12 exemplaires de National Geographic<\/em> \u00e9voque de fa\u00e7on radicale et simple l\u2019impact de l\u2019action de l\u2019homme sur les \u00e9cosyst\u00e8mes naturels, l\u2019extinction des esp\u00e8ces et le danger de ne faire de notre monde qu\u2019une enveloppe quasiment vide.<\/span>

After the End <\/em>se pr\u00e9sente sous la forme d\u2019un frigo\u2011sarcophage\u2011mausol\u00e9e sugg\u00e9rant la cryog\u00e9nisation<\/span> et conservant sur chacune de ses \u00e9tag\u00e8res une forme oblongue \u00e9voquant la pr\u00e9sence de l\u2019homme, tel un moulage de t\u00eate antique \u00e9ventr\u00e9e ou encore un casque de motard rempli d\u2019un m\u00e9lange de paille et de fils \u00e9lectriques. Il dialogue avec les 3 grandes impressions digitales Post\u2011Human Portraits<\/em> o\u00f9 des bustes romains se t\u00e9l\u00e9scopent avec i.a. des repr\u00e9sentations d\u2019astres,<\/span> de parasito\u00efdes attaquant une chenille, ou encore de circuits \u00e9lectroniques, que l\u2019on peut imaginer provenant de disques durs d\u2019ordinateurs, comme possibles r\u00e9ceptacles des m\u00e9moires de notre pr\u00e9sent ou de notre pass\u00e9, toutes aussi fragiles et menac\u00e9es.

Enfin, plac\u00e9 tout \u00e0 la fin du parcours de notre exposition, Stop Motion<\/em> est une all\u00e9gorie de nos premiers gestes de cr\u00e9ateurs d\u2019art :<\/span> \u00c0 la lettre, il s\u2019agit d\u2019un tableau portant la possibilit\u00e9 de traces et d\u2019empreintes \u00e9ph\u00e9m\u00e8res de l\u2019humanit\u00e9 et, \u00e0 tous le moins, des visiteurs de l\u2019exposition, qui sont ainsi invit\u00e9s \u00e0 contribuer \u00e0 fa\u00e7onner l’\u0153uvre de fa\u00e7on collective.<\/p>\n\n\n\n

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

The work of Nicolas Lamas assumes an extreme variety of essentially sculptural or graphic forms, yet it is tied together by the primary dialectical elements. Lamas\u2019 practice involves the confrontation, collision, or even collusion of found objects and\/or images that he has gathered in the course of his wanderings and searches, virtual or physical, on the net or in the real world. Destruction and repair or resilience coexist in the encounters he sets up in order to create unexpected clashes, that are consciously diachronic, recurrently associating fragmentary elements from different eras, materials and\/or registers. The organic and the human come together and come face to face with mechanical or even electronic, digital or bionic objects and components from the world of today or tomorrow, but which are, ultimately, just as fragile and perishable. The thought of the anthropocene and its dead ends is never very far, and it is tempting to understand his work as the constitution or the reconstitution of an archaeology of the future, or, rather, of a speculative and dynamic archaeology, outside of time.

In Empty Box<\/em>, a simple gesture of hollowing out and cutting the contents, texts and images of a stack of 12 copies of National Geographic<\/em> evokes, in way that is both radical and simple, the impact of human action on natural ecosystems, the extinction of species and the danger of making our world a virtually empty shell.

After the End <\/em>takes the form of a fridge-sarcophagus-mausoleum suggesting cryonics and preserving, on each of its shelves, <\/span>an oblong shape evoking the presence of man, like a cast of an antique disembowelled head or a biker helmet filled with a mixture of straw and electric wires. It dialogues with the 3 large Post-Human Portraits <\/em>digital prints, in which Roman busts collide with i.a. galaxies, electronic circuits or larvae attacking a caterpillar<\/span>, and that one can imagine coming from computer hard drives, as possible receptacles of memories of our present or our past, all fragile and threatened.

Finally, positioned at the very end of the route of our exhibition, Stop Motion<\/em> is an allegory of our first gestures as art creators: Literally, it is a painting incorporating the possibility of the traces and ephemeral imprints of humanity and, at the very least, visitors to the exhibition.<\/span><\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95676","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95676","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=95676"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}