One Day It Will Be Like When We麓ve Already Lived
鈥濴ife is but a walking shadow, a poor player, that struts and frets his hour upon the stage, and then is heard no more. It is a tale told by an idiot, full of sound and fury, signifying nothing.鈥� (William Shakespeare, Macbeth, Act V, Scene V). In this exhibition, the artists explore, each in their own way, one of the innumerable facets of the great human Comedy.
Self-proclaimed 鈥瀉rtist of mediocrity鈥� (but is not mediocre who wants to), Jacques 尝颈锄猫苍别 stages himself in many ways, in often hybrid artworks of which some reappear as remake several years he does not hesitate to produce 鈥瀝emakes鈥� several years later. Here 尝颈锄猫苍别 is appealing to all lovers of good taste: 鈥濩ollectors, you must acquire a mediocre artwork by 尝颈锄猫苍别 to highlight your furniture and your stylish masterpieces!鈥�. Philippe Ramette and Pierrick Sorin also play with their own image, the first one taking on the role of a dandy, undisturbed by the upheavals of the world, while the second struggles in delirious video sketches in form of miniatur optical theaters. Anyway 鈥濼he show must go on,鈥� as Johan Muyle proclaims with a small kinetic sculpture on wich a curtain opens and closes over the stolen video footage of Saddam Hussein鈥榮 execution.
Reality or fiction? On Terry Rodgers麓s side, views of cozy interiors crowded by more or less naked bodies evoke photographic snapshots - but each model has posed individually for the artist, who creates his pictorial compositions afterward. Herv茅 Ic also works with models and posing sessions, but to paint portraits seen from the back, in which the subjects seem to be turned towards the spotlights of a stage. The Rodox series, inwhich he multiplies allusions to art history, freezes the moments before the actors of vintage pornographic films enter the scene on the set. David Kramer designs his works also on the basis of found images, including advertising, on which he superimposes more or less deep going personal reflections, such as voiceovers in the movie film of a lifetime.
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鈥濴ife is but a walking shadow, a poor player, that struts and frets his hour upon the stage, and then is heard no more. It is a tale told by an idiot, full of sound and fury, signifying nothing.鈥� (William Shakespeare, Macbeth, Act V, Scene V). In this exhibition, the artists explore, each in their own way, one of the innumerable facets of the great human Comedy.
Self-proclaimed 鈥瀉rtist of mediocrity鈥� (but is not mediocre who wants to), Jacques 尝颈锄猫苍别 stages himself in many ways, in often hybrid artworks of which some reappear as remake several years he does not hesitate to produce 鈥瀝emakes鈥� several years later. Here 尝颈锄猫苍别 is appealing to all lovers of good taste: 鈥濩ollectors, you must acquire a mediocre artwork by 尝颈锄猫苍别 to highlight your furniture and your stylish masterpieces!鈥�. Philippe Ramette and Pierrick Sorin also play with their own image, the first one taking on the role of a dandy, undisturbed by the upheavals of the world, while the second struggles in delirious video sketches in form of miniatur optical theaters. Anyway 鈥濼he show must go on,鈥� as Johan Muyle proclaims with a small kinetic sculpture on wich a curtain opens and closes over the stolen video footage of Saddam Hussein鈥榮 execution.
Reality or fiction? On Terry Rodgers麓s side, views of cozy interiors crowded by more or less naked bodies evoke photographic snapshots - but each model has posed individually for the artist, who creates his pictorial compositions afterward. Herv茅 Ic also works with models and posing sessions, but to paint portraits seen from the back, in which the subjects seem to be turned towards the spotlights of a stage. The Rodox series, inwhich he multiplies allusions to art history, freezes the moments before the actors of vintage pornographic films enter the scene on the set. David Kramer designs his works also on the basis of found images, including advertising, on which he superimposes more or less deep going personal reflections, such as voiceovers in the movie film of a lifetime.
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