{"id":95679,"date":"2021-04-28T10:07:06","date_gmt":"2021-04-28T08:07:06","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95679"},"modified":"2021-04-28T10:07:07","modified_gmt":"2021-04-28T08:07:07","slug":"b40","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b40\/","title":{"rendered":"Jean Pierre M\u00fcller"},"content":{"rendered":"\n

Jean Pierre M\u00fcller est s\u00e9rigraphe, enseignant, m\u00e9lomane et musicien. L\u2019\u0153uvre que nous pr\u00e9sentons est issue du projet La Longue Marche<\/em> <\/span>dont la deuxi\u00e8me articulation \u2011 Fugue<\/em> \u2011 a r\u00e9cemment \u00e9t\u00e9 d\u00e9ploy\u00e9e aux Drapiers \u00e0 Li\u00e8ge. La Longue Marche<\/em>, \u00e0 l\u2019ambigu\u00eft\u00e9 s\u00e9mantique pouvant aussi de fa\u00e7on non fortuite \u00e9voquer le monde musical si cher \u00e0 M\u00fcller, s\u2019inscrit \u00e0 la fois dans une conviction intime et une fascination de l\u2019artiste pour l\u2019id\u00e9e d\u2019une humanit\u00e9 toujours en marche, pour le meilleur et parfois pour le pire. On pense \u00e9videmment \u00e0 La Longue Marche<\/em>, repli strat\u00e9gique des mao\u00efstes chinois, mais les marches qui occupent ici M\u00fcller sont autant celles, souvent contestables, faites au nom du progr\u00e8s et de la civilisation que celles li\u00e9es aux exodes, migrations, transhumances suscit\u00e9es par le besoin, la faim, l\u2019\u00e9conomie, les conflits ou encore, plus pr\u00e9cis\u00e9ment ici, l\u2019expansion coloniale. Cette m\u00e9taphore digestive, de la m\u00e9tabolisation, de la superposition et de l\u2019interaction de ces strates historiques <\/span>qui sous\u2011tendent la complexit\u00e9 de notre actualit\u00e9 contemporaine trouve en l\u2019occurrence une symbolisation efficace dans l\u2019\u0153uvre que nous pr\u00e9sentons ici Brothers of Love <\/em>(2017):<\/span> Une superposition d\u2019impressions s\u00e9rigraphiques sur des gazes et autres textiles (dont de la tarlatane, un tissu employ\u00e9 en s\u00e9rigraphie pour essuyer pr\u00e9cis\u00e9ment les couleurs) tour \u00e0 tour vaporeux ou textur\u00e9s dont les motifs s\u2019imbriquent et se prolongent les uns les autres, sugg\u00e9rant une oscillation dialectique efficace entre les dynamiques d\u2019occultation et de r\u00e9v\u00e9lation \u00e0 l\u2019\u0153uvre dans nos inconscients collectifs. En l\u2019occurrence, nous retrouvons i.a. une confrontation entre un portrait de Guillaume Van Kerckhoven, militaire colonial qui a inspir\u00e9 le personnage principal de Heart of Darkness<\/em> de Joseph Conrad, avec une repr\u00e9sentation s\u00e9rigraphi\u00e9e d\u2019une photo de missionnaires de la congr\u00e9gation des Broeders van de Liefde<\/em>. Une combinaison qui illustre bien les contradictions et dialectiques complexes et controvers\u00e9es de l\u2019aventure coloniale belge. Le lis\u00e9r\u00e9 en bordure du print centrale offre d\u2019ult\u00e9rieures strates d\u2019interpr\u00e9tation de la pi\u00e8ce.<\/span><\/p>\n\n\n\n

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

The work we are presenting comes from the project La Longue Marche<\/em>, the second articulation of which – Fugue<\/em> – was recently shown at Les Drapiers in Li\u00e8ge. La Longue Marche<\/em> [The Long March], with its semantic ambiguity that can also unintentionally evoke the musical world so dear to M\u00fcller, is part of both an intimate conviction and a fascination of the artist for the idea of a Humanity that is constantly on the move, for better and sometimes for worse. We obviously think of La Longue Marche<\/em>, the strategic retreat of the Chinese Maoists, but the marches which occupy M\u00fcller here are as much those, often questionable, that are made in the name of progress and civilization as those linked to exodus, migrations, transhumance caused by need, hunger, economy, conflicts or, more specifically here, colonial expansion. The digestive metaphor of the necessary metabolization, the superposition and the interaction of the historical strata which underlie the complexity of our contemporary contexts find an effective symbolization in the architecture of the piece:<\/span> A superimposition of silk-screen prints on gauze and other textiles (such as tarlatan, precisely used in serigraphy to wipe off the plates), in turn, vaporous or textured, and whose patterns overlap and extend one another, suggesting an effective dialectical oscillation between the dynamics of concealment and revelation at work in our collective unconscious. In the present case, a portrait of Guillaume Van Keckhove, the Belgian colonial officer who inspired the central character of Heart of Darkness<\/em> by Joseph Conrad is i.a. juxtaposed to the silkscreen translation of a photograph of the Broeders van de Liefde<\/em> congregation, thus effectively illustrating the complex hypocritical contradictions at play in Belgian colonial system. The border of the rear silkscreen panel opens up further layered interpretations of the artwork.<\/span><\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95679","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95679","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=95679"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}