{"id":95705,"date":"2021-04-28T10:23:14","date_gmt":"2021-04-28T08:23:14","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95705"},"modified":"2021-04-28T10:23:14","modified_gmt":"2021-04-28T08:23:14","slug":"b59","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b59\/","title":{"rendered":"Oriol Vilanova"},"content":{"rendered":"\n

Dans sa pratique, Oriol Vilanova explore les m\u00e9canismes de construction et d\u2019analyse du regard et de l\u2019histoire de celui\u2011ci. Le point de d\u00e9part de ses \u0153uvres, qui peuvent prendre la forme d\u2019installations, de performances ou de textes, trouve son origine dans la collection de quelque 34 000 cartes postales qu\u2019il s\u2019est constitu\u00e9e au fil de ses visites quasi\u2011journali\u00e8res aux march\u00e9s aux puces,<\/span> \u00e0 travers le monde. Cette collection, qu\u2019il consid\u00e8re comme une sorte de reliquaire\u2011m\u00e9morial produit en masse de notre histoire culturelle, est soigneusement class\u00e9 en plus d\u2019une centaine de cat\u00e9gories \/ sections dans lesquelles il puise au gr\u00e9 de ses propositions. Toujours soigneusement pens\u00e9es en fonction du contexte de pr\u00e9sentation, ses \u0153uvres jouent de fa\u00e7on r\u00e9currente sur le hasard, la r\u00e9p\u00e9tition et l\u2019exag\u00e9ration des th\u00e8mes ou motifs. Si le r\u00e9pertoire \u00e9clectique de ces classifications va des chats aux motifs architecturaux, en passant par les chefs d\u2019\u0153uvres de la peinture classique ou encore les couchers de soleil, ce sont souvent les cartes rassembl\u00e9es sous la cat\u00e9gorie d\u2019\u00ab inclassables \u00bb qui fournissent le point de d\u00e9part de nouvelles \u0153uvres et de nouvelles cat\u00e9gories de cette collection en expansion constante. \u00c0 la lettre, celle\u2011ci devient, pour reprendre les termes de l\u2019artiste, une vraie \u00ab machine \u00e0 penser \u00bb. Nous pr\u00e9sentons ici deux pi\u00e8ces, qui jouent \u00e0 des degr\u00e9s divers sur des id\u00e9es d\u2019une invisibilit\u00e9\/fugacit\u00e9 d\u2019iconographies qui se d\u00e9robent ou se perdent. Old Masters<\/em> prend la forme d\u2019une veste de gardien de mus\u00e9e, dans les poches de laquelle sont abrit\u00e9es une collection de cartes postales d\u2019estampes de D\u00fcrer, prolongeant ainsi les collections du CGII dont les \u0153uvres les plus anciennes remontent aux ann\u00e9es \u201930. C\u00e9l\u00e9bration<\/em>, 2020, prend la forme d\u2019un carrousel de cartes postales d\u2019oranges d\u00fbment retourn\u00e9es, et tournant contin\u00fbment et lentement, \u00e0 l\u2019instar d\u2019un carrousel dont les enjeux et les plaisirs \u00e9chapperaient aux spectateurs.<\/span> La co\u00efncidence est en l\u2019occurrence heureuse que les oranges soient pr\u00e9cis\u00e9ment au centre des festivit\u00e9s principales (carnavalesques) de la R\u00e9gion du Centre, de La Louvi\u00e8re \u00e0 Binche. \u00c0 n\u2019en pas douter, l\u2019\u0153uvre prend aussi une connotation particuli\u00e8re dans le contexte des cycles r\u00e9p\u00e9titifs de notre syst\u00e8me, mis en exergue par cette pand\u00e9mie qui elle\u2011m\u00eame se r\u00e9p\u00e8te et qui nous coupe en quelque sorte des racines de notre culture.<\/p>\n\n\n\n

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

In his practice, Oriol Vilanova explores the mechanisms of construction and analysis of the gaze and its history. The starting point of his works, which can take the form of installations, performances or texts, finds its origin in the collection of some 34,000 postcards that he has assembled during his almost daily visits to flea markets, around the world. <\/span>This collection, which he considers to be a kind of mass-produced memorial-reliquary of our cultural history, is carefully classified into more than a hundred categories\/sections which he draws upon according to his works. Always carefully thought out according to the context of the presentation, his works repeatedly play on chance, repetition and exaggeration of themes or motifs. While the eclectic repertoire of these classifications ranges from cats to architectural motifs, including masterpieces of classical painting and sunsets, it is often the cards collected under the category of “unclassifiable” which provide the starting point for new works and new categories in this ever-expanding collection. Literally, it becomes, to use the artist’s words, a veritable “thinking machine”. Here, we present two pieces, which play to varying degrees on ideas of invisibility\/transience of iconographies that are hidden or lost. Old Masters <\/em>takes the form of a museum guard\u2019s jacket, in the pockets of which are housed a collection of postcards of engravings by D\u00fcrer, thus extending the collections of the CGII. C\u00e9l\u00e9bration<\/em>, 2020, takes the form of a carousel of postcards featuring oranges, duly spun around, rotating continuously and slowly, like a carousel whose significance and pleasures escape the spectators.<\/span> It is by the way a meaningful co\u00efncidence that the main attribute of the Region of Centre\u2019s festivities (Carnival) is strongly associated with oranges. Undoubtedly, the work also takes on a particular connotation in the context of the repetitive cycles of our system, highlighted by this pandemic which is repeating itself and which, in a way, cuts us off from the roots of our culture.<\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95705","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95705","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=95705"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}