dessin/sculpture/peinture/mise en scène plastique

dessin/sculpture/peinture/mise en scène plastique
Mise en scène du tableau "la Danseuse" à Beaubourg
/// CLIQUER SUR LES IMAGES POUR LES AGRANDIR///

jeudi 18 août 2016

EXPOSITION "APPARITIONS" /// Arty Hour #1 /// @NORVINS /// 2 juin 2016




Les ARTY HOURS@NORVINS offrent à un artiste la possibilité de présenter l’ensemble de son travail à des professionnels de l’art et des collectionneurs. Chaque artiste convie un ou plusieurs intervenant(s) extérieur(s) au milieu de l’art pour éclairer sa démarche. 

LES INTERVENTIONS DES BERGERS URBAINS / CLINAMEN
Julie-Lou Dubreuilh, Architecte et Bergère Urbaine  
France Culture
Conférence TED-X 

Guillaume Leterrier, Berger Urbain, jardinier et maraîcher
fondateur de plusieurs structures d'agriculture urbaine et titulaire du Cours Certifié en Permaculture


LES DEGUSTATIONS
Les Salaisons d'Emmanuel Chavassieux
Les vins vivants de L' Atelier Tampon Nomade et autres dégustations 

Merci à Pascaline Rey

lundi 15 août 2016

Muses De JUIN //// Carte Blanche dans "REVUE & CORRIGÉE"


manipulations actuelles d'atelier et ses muses 
pour un recueil des pensées expérimentales en action

Muses de Juin: Veau en gelée, Instatistique Nu inachevé Barbara, Jolly Rogers (Goutte de prétention et Naranja ferrocarril), Impression de paysage, fonte d’étain, singe en poignée et par exemple Bicéphale fontaine et animaux émerveilleux des natures




Réalisée par les membres bénévoles de l'association Nota Bene, Revue & Corrigée, revue trimestrielle née en 1989, aborde librement les musiques expérimentale, improvisée, écrite, électroacoustique, radiophonie, installation sonore, cinéma expérimental, danse contemporaine, performance, poésie sonore... Chroniques régulières, réflexions, entretiens d'artistes, agenda, infos, actualités discographiques et éditoriales, R&C se conçoit comme un recueil des pensées expérimentales en action.
DISTRIBUTION

lundi 20 juin 2016

peau de Sanglier-Bovin

céramique émaillée cuisson raku
sculpture murale
40x23x12cm
@Noémie Sauve/photos Katrin Backes

Cosmocat ou Lion Irisé


céramique émaillée cuisson raku
sculpture murale
27x17x10cm
@Noémie Sauve/photos Katrin Backes

bicéphale irisé


Céramique émaillée cuisson raku
sculpture murale
20x11x7cm
@Noémie Sauve/photos Katrin Backes

couple d'animaux à nourrir en griffe ou griffe enlacée

céramique émaillée cuisson raku
13x8x4cm
@Noémie Sauve/photos Katrin Backes

dague à queue ou oiseau à nourrir irisé

céramique émaillée en cuisson raku
33x5x5cm
@Noémie Sauve/photos Katrin Backes

épée volaille de cristal

verre fluorescent jaune et violet cristal
31x7x5cm
@Noémie Sauve/photos Katrin Backes

petit couteau de chasse

verre noir coulé et inclusion de verre fluorescent rose orangé
16,50x7x3cm
@Noémie Sauve/photos Katrin Backes


Sabre volaille complexe

sabre en verre noir coulé et inclusion de verres fluorescents roses
32x9,50x7,50cm
@Noémie Sauve/photos Katrin Backes

dague chouette


dague en verre noir coulé et inclusion de verre fluorescent vert
20x5,50x4cm
@Noémie Sauve/photos Katrin Backes

La Bête


L46x h20x l18 cm,
crayon indélébile sur marbre de Carrare
@Noémie Sauve/photos Katrin Backes

Lion Fontaine

Raku-céramique émaillée
sculpture murale
60x28x14,50cm
@Noémie Sauve/photo Katrin Backes 

bicéphale fontaine

céramique émaillée
sculpture murale
16x11x9cm
@Noémie Sauve/photo Katrin Backes 

Félin Blanc mural

céramique émaillée
sculpture murale
@Noémie Sauve/photo Katrin Backes

dimanche 19 juin 2016

Raphaël Abrille /// Musée de la Chasse et de la Nature, Paris

Noémie Sauve, Directions for Use

Developers and planners imagine territories for all to share, but in so doing they do not make them suitable for each individual person. The more one drifts from the statistical norm that defines common behaviors and manners, the less one is likely to fully blossom within this shared space. The space left for other, especially non-human, elements of life in our cities is revealing of this tension between the norm and the margin. If what Gilles Clément has called the “third landscape” has allowed nature to develop more spontaneously and freely across squares, gardens, and parks, it nevertheless remains the case that wildlife’s dominant ways of being in the city remain adaptation, hiding, and fugitivity. The city dweller never ceases to be amazed by the power of the living to defy urban constraints in order to emerge and grow – whether perched on the edge of a window, jutting out a crack in the asphalt, or hidden in an air vent.  

The work of Noémie Sauve proceeds from this amazement as much as it attempts to provoke it anew. Following a longtime interest in modes of inhabiting a world largely meant for humans, she has undertaken multiple projects aiming at being able to occupy a territory by the simple fact of existing in it. These have taken a number of different forms, from organizing public events (concerts, lectures, community meetings, skillshares…) when she was a member of a squat (in Grenoble), to staging collective and living adaptations of her early visual work in the streets of Paris. She has drawn from this for her series “Disconographies” (2006 onwards) - a genial pop-surrealistic collage blending disco and iconography. Inspired by Ulf Poschardt's 2002 book Dj Culture, this series of photographs documents the energy of an existence centered on dance taking hold of streets and squares, which, alas, didn't ask even ask for that.

Her involvement in Clinamen, an organization founded in 2012 that seeks to galvanize urban areas by promoting pastoral activities, stems from the same desire: to use fine art as a tool for collective action. Among the many actions of the collective, the most significant and publicized has been doubtlessly the grazing of a flock of sheep across the urban landscape of the northern banlieues of Paris. In making farm animals present in an unsuitable context, Clinamen intended to bring agriculture amidst townspeople, and in so doing to question the modes of living and eating by initiating moment of communality and exchange around the contemporary issues of agriculture. Noémie Sauve works at generating a “disconographic” representation of this collective, which embodies the issues she holds dear – by, for example, incorporating heirloom seeds in some of her drawings, offering a new circulation to this essential peasant matter. She is dedicated to the life and activities of the collective, for example, by designing street furniture for transhumance and by participating in building the infrastructure needed for the pastoral activities of the organization – such as sheep pens, greenhouses, and sheds.

Noémie Sauve equally participates in Jolly Rogers, a collective composed of architects, town-planners, site managers, landscapers, and artists, who together devise and build urban sheepfolds as well as part of the infrastructures of Jazz à Luz, a festival of jazz and improvised music in the Pyrenees. These structures are conceived as forms of improvised and ephemeral architecture, which use a great quantity of reclaimed and recovered materials while never sacrificing the aesthetics of the project to the economy of means. In this practice, she experiences, besides the integration into the countryside, objects, and tools, the materials that will be of singular importance in her studio work. After a long nomadic apprenticeship, more experimental than academic in nature, between Lyon, Grenoble, Paris, and Quebec, it is hardly surprising that it took her quite some times to choose the most adequate studio for her own personal artistic practice. In 2011, she started working in the Ateliers Paul Flury in Montreuil-sous-Bois, which offers a great variety of tools of production, including foundries, ovens, molding studios, cutting studios... From that point on, “studio-obsessed,” Noémie Sauve has felt free to fulfill her need to create and to experiment relentlessly while doing so. In her work, she combines an intense involvement with drawing – a direct and spontaneous practice supported by her taste for improvisation, relentlessly filling up numerous experimental sketchbooks – with a taste for complex mechanical processes. For instance, La Bête (2015) presents a canine head sculpted in a block of Carrara marble and penciled afterwards. In her Peaux de Sculptures  [Sculpture Skins] series (2015), embossings are pressed from the imprint of a sculpture made out of modeling clay, coated with rabbit-skin glue, and then gone over with graphite pencil and colored crayons. Each step of this vertiginous process mobilizes her innate sense of improvisation, allowing her to continuously reinvent a process that endlessly revives her, allowing her to rework and rethink basic technical categories. In the end, what is a Sculpture Skin exactly? Is it a drawing, a print, a sculpture, an engraving?

Tools that allow artistic creation (whether in relation to architecture or the fine arts) occupy an important place for this artist who admits that she “walks along with arts and crafts.” This relation between arts and crafts was highlighted in her 2014-15 residency in The Domaine de Belval (Ardennes). The former hunting ground of the founders of the Musée de la Chasse et de la Nature (Museum of Hunting and Nature), the site was converted into a center for the training of hunters, for research in eco-ethology, and for artistic experimentation. Within this paradoxical territory – wild and domesticated at once, somewhere in between castle parks and primal forests – Noémie Sauve has, among other things, followed the trainees of a bow hunting class. There, she initiated a hybrid project she titled Domestication vs Pleine Lune [Domestication vs. Full Moon]. The artworks she brought back from her journey present as much as they distort tools for archery. Arrows, release mechanisms, sights, thumb rings are reinterpreted, deconstructed through multiple formal technics: drawings, engravings, or sculptures. In her sculpture series Animaux à Nourrir  [Animals to Feed], tin, glass, bronze, and ceramics are utilized to shape zoomorphic hybrids that one can hold in his hand – threatening weapons at the mercy of the holder’s powerful grip.

Her special attachment to tools had previously been the subject of one of Noemie's most spectacular works of art, L'Attelage (2015), a drawing that came out of her residency at L'Aparté, an art center near Trémelin, Brittany. The painting arose from the artist’s questioning of the coexistence of and spatial distribution between human and non-human actors. Sauve’s attention was caught by one of the many activities offered to visitors at the Trémelin domain, a forest recently converted into an ecotourism site: sled dog racing. These races, in which mixed teams of Samoyeds and Greenland dogs compete, fascinated the artist for multiple reasons: for the packs’ swirling violence no less than for the material means (harness, collars, tethers) necessary to channel the animal instinct in order to make it a form of entertainment.

Noemie Sauve's aesthetics are infused with a form of baroque lyricism, a fact attested to her by the precocious and delirious 2007 staging of her painting, La Danseuse, in front of the Centre Pompidou. Up to today, that photographic image remains the header of her blog, perhaps as a permanent injunction to herself against falling into a form of “romanticism” that often arises from solitary studio work. “It takes a lot of effort to get as close as possible to bad taste without falling into kitsch” says Noémie, who still uses crayons and glitter in her drawing and stages her sculptures on pop-psychedelic clouds (Ours Hydrocéphale, 2014). This aesthetic choice lays claims to a political goal: Through amazement that it arouses, it intends to make accessible for a large audience a complex iconography without necessarily appealing to the intermediary of a user manual for the prevailing paradigms in contemporary art. In the drawing Végétal vs Minéral (2015), this could be swapped for the proposition – differently, but equally political – that the artist takes up when faced with the question of the development of the natural reserve of Trémelin. Planted with resinous trees unable to take root in a salty soil, the park is neglected by forest officers who are frustrated by its poor profit, indifferent to touristic issues, which are out of the realm of their competency. The forest’s paths are progressively blocked by trees any wind can uproot.  

The tree cemetery in Trémelin stands as a singular metaphor for the struggles at stake in the use of a territory, so intimate to the fundamental questions motivating Noémie Sauve's work. With a title carefully chosen as always, Végétal vs Minéral, the artist proposes a representation that she submits, first, to the local inhabitants she has interacted with during its research and creation. It is up to them, as to the broader audience looking at this protean work, to appreciate its poetic feeling and to interrogate its critical weight. 

Raphaël Abrille 
february 2016
Raphaël Abrille est conservateur-adjoint du musée de la Chasse et de la Nature (à Paris et au Château de Chambord) depuis 2002. Il a contribué au réaménagement muséographique du site parisien entre 2005 et 2007. Il collabore au développement des musées de France consacrés à la cynégétique: au musée de la Vénerie de Senlis, dont il est conservateur (2005-2006) et au musée de la Chasse de Gien, où il contribue au pilotage scientifique du projet muséographique (2008-2011). Au sein de ces musées ou en tant que co-commissaire de la manifestation "Monuments et Animaux" pour le centre des Monuments Nationaux (2011-2012), il s'attache à élaborer un dialogue intime entre l'art contemporain et lieux de patrimoine. Ses commissariats, recherches et publications récentes portent tour à tour sur l'animalité dans la création contemporaine, sur l'histoire des musées de chasse en Europe, sur la mise en scène et la représentation du trophée, sur la peinture de chasse de Gustave Courbet et sur l'histoire de la photographie cynégétique.

samedi 11 juin 2016

DOMESTICATION VS PLEINE LUNE - PEAU NOCTURNE codes de la nuit /// Cahier de dessin /extraits / voyage 2 / vision Belval

















décryptage dessiné des impressions de paysage sous la lune, extraits d'explorations nocturnes pour un code graphique de la nuit.
cahier de dessin scientifique, du passage du jour à la nuit; les objets qui composent le paysage deviennent les impressions de ce paysage.
dimensions des pages du cahier de recherche 21x13cm
réalisé avec le soutien de la Fondation François Sommer

DOMESTICATION VS PLEINE LUNE / Peau Nocturne, code de Paysage n°1, vision Belval, traduction de la nuit

dessin réalisé à partir du cahier de dessin d'observations nocturnes du Domaine de Belval la nuit
mine graphite sur papier Moulin du Gué 300g 130x80 cm
réalisé avec le soutien de la Fondation François Sommer

DOMESTICATION VS PLEINE LUNE / Le Mirador

mine graphite, crayon de couleur 130x80 cm
sur papier Moulin du Gué 300g
réalisé avec le soutien de la fondation François Sommer

DOMESTICATION VS PLEINE LUNE / Apparitions "avec" et "sans" graines paysannes

Apparition attendrissante et
Apparition attendrissante avec graine paysanne
@PA I Plateforme de création contemporaine (sans graine)


Apparition muette et
Apparition muette avec graine paysanne
@PA I Plateforme de création contemporaine (sans graine)


Apparition recroquevillée et
Apparition recroquevillée avec graine paysanne


Apparition volontaire et
Apparition volontaire avec graine paysanne
@PA I Plateforme de création contemporaine (sans graine)

Série des "apparitions"; sculptures en céramiques émaillées dessinées dans des impressions de paysages. La deuxième série comporte des incrustations de graines paysannes (graines non stérilisées) dont la difficile circulation ponctue la nécessaire résistance au "brevetage du vivant" et à soutenir l'indépendance alimentaire.
mine graphite, bic, feutre aquarellable, feuille dorée, graines paysannes sur sopalin pour les apparitions avec graines.
papier aquarelle Fabriano 200g, 14,8x21 cm, pour les apparitions avec graines
papier Sennelier 340g, 14,8x21 cm, pour les apparitions sans graines
réalisé avec le soutien de la Fondation François Sommer
remerciements à Guillaume Leterrier et à Clinamen