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taaltoets prostituee rencontre hillary et vincent rencontres ares You put together an exhibition in the form of a manifesto at Grand-Hornu. Manifestos often go hand-in-hand with revolution. Considering that this notion relates primarily to the individual rather than to any political apparatus in your artistic practice, what does revolution mean for you? sauramps rencontres montpellier I remember that some time ago you compared your actions to a dog barking to get attention, to shed light on something that everyone has overlooked, until finally people notice and heed the warning – as illustrated by the animals you have drawn with explosives on their backs, like the pigeon sculpture at Grand-Hornu.
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rencontres amoureuses 47 rencontre russe ukraine At the Grand-Hornu, the exhibition unfolds within a single room, composed in the form of a symphony, while at the Musée d’Art Contemporain in Lyon, the exhibition is spread across two levels, one on top of the other. I started with the top floor. It corresponds in a way to the idea of the human condition, exploitation, and above all fatigue. All the bodies of laborers are made in clay so that they dry over the course of the exhibition. It’s the weight of forty-seven tons of clay, not including the metal, wood, etc. And I designed the lower level as a city, based on the idea of the visible and the invisible city. The visible part is represented by the bars, that’s why I called the exhibition “L’Antidote” (“Antidote”), from the name of the bar where I met my partner, Julie, and so there is an obvious autobiographical element there. And I also added the “Aïcha” bar in Paris: I named it after the owner, and it’s also the same name as the prophet’s most important wife. What a name for a bar! It’s not around anymore, but I wanted to evoke the end of a world. Considering that when Pasolini filmed the ragazzi in Rome, it was the end of a world, we have to remember we are also living through the end of a world now. The working class who once occupied certain areas of Paris are no longer there, now they are outside the city center. Aïcha was a bar for a lot of undocumented people: Tunisians, Algerians, and even some Chinese. Everything invisible that a city might contain. And within the city I represent, I’ve also placed trucks that are part of a vast series I call Judd; they are like David Judd’s sculptures with empty space, which I fill with material and symbolic substances. Each truck tells a story. It might be a bomb, a jar, a lamp, charcuterie, and I even inserted a model of the Rosa Luxemburg memorial made in brick by Mies van der Rohe in 1926. A truck containing an enormous block of ice, Gin ‘N’ Tonic, is placed on the exterior. And this group of trucks that I transformed is called Le Merveilleux, for the moment when marvelous things arrive in the city.
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sites de rencontres italiens annonce paruvendu rencontre I already mentioned the structure: one is presented like a palace that viewers walk through on a red carpet, which can also represent the Soviet red flag, and the other is spread across two levels and focuses on the human condition. Fatigue on top, and below, the city, the bar, the marvelous, with violence, and an era set ablaze. There is also another bar, “the relaxation café” with the video Passé simple (1997) that I made while living in Lyon, with bullet holes. My artist practice grows out of all the experiences I’ve had and which affect me, and it all comes back, it has to get out.
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rencontre reptic cible 28 rencontre I don’t actively take the images, it’s the images that strike me and that constantly return to haunt me. Sometimes the reference is direct, sometimes it’s less specific. A writer talking about suicide has not necessarily lived through that experience. Selecting images is a complex but always very specific process, and I reproduce them because they are always coming back to me. The Vietnamese girl’s cry haunted me from the moment I saw Kim Phuc’s image of her naked and screaming from pain after her village was napalmed during the Vietnam War. That led to Cri (2013). Grünewald’s crucified Christ is another image that has long haunted me, similar to the way Eisenstein was haunted by Tintoretto. I’m an artist of my time but my work lives many lives. If you consider my body of work, you can see that I am gathering lessons from several lives.
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