SITU AND INSTALLATION (Continued)
Ernest Pignon Ernest
"I tend to think that Naples, the Neapolitans, lifestyle,
their organization, philosophy, constitute a kind of conservatory
living our values of humanist culture, the last tribe of irreducible
Pasolini said, inflexible facing the juggernaut of the Anglo-Saxon
media and liberal. death, his performances and rituals she creates
since time immemorial meet at each step in the streets ...
I went there to question our culture. "
"These are figures of men and women in their vegetative nudity. These sculptures are
accumulations of plant cell layouts:
they need sunlight, water, or they die, they dry ,
decompose. The plant is in human form. "
In 1983, Ernest Pignon-designed the project "arborigènes "Biological planting sculptures made from polyurethane foam. Composed of living plant cells, they represent the mythical osmosis between plants and humans, embodied by the figure of Daphne Bernini.
"Like plants, like leaves, these sculptures are accumulations of plant cell layouts: they takes sun, they need water or they die, they dry themselves down. They assimilate the sunlight, converts it into glucose, in life, they take up carbon dioxide and produce oxygen, they breathe at night. The plant is in human form, through which the phenomenon of photosynthesis. We have kept several months in the greenhouse of the Nuclear Studies Center of Cadarache. Claude Gudin feared that the production of heat during manufacturing has weakened cells. He has partially reseeded injections. He estimated about one billion the number of cells in each character. It is not an "envelope "Filled plastic cells, or even a sponge that would be impregnated. The cells of microalgae are immobilized at the molecular level in the polymer. Discovered by Professor Lewin from the University of California San Diego, they have names and Porphyridium cruentum Chlamydomonas mexicana. The biotechnology laboratory solar CEN Cadarache has "grown" and specially bred to our project. "
"I felt the pain one feels to be hunted places in its history to lose his bearings
older ... My parents, at Nice, had been evicted. Moreover, during this period from 1975 to 1980, there were many renovations in Paris, especially near Montparnasse I passed through daily. I found startling, shocking, these buildings gutted this laid bare, this projection in the eyes all traces of people's privacy. This exhibition seemed extremely violent ... also traces of floors, walls may also appear as an organization colors, materials, lines, one can think to research plastic charged with emotions and memories. "
" I found striking, shocking, these buildings gutted, this is exposed, this projection in the eyes All traces of the intimate people's lives. I remember a kid's room, blue paper, cut and pasted the boats which outlined the location of a bed. This exhibition seemed extremely violent, like a rape ... "
" ... Moreover, it is evident that these spaces determined by the traces of floors and partitions may also appear as an organization of colors, materials, lines: These walls are irresistibly reminiscent of visual research, which is more loaded with emotions and memories. Basically, we could just both sign.
"... I worked hard in the drawing, the attitude, the jacket over his shoulder, the fragility of the wrist, the choice of jeans that give it a contemporary look but also very close to the figure that we know of drawings by Verlaine "...
"The multiplicity of collages in different places I could not freeze the image of the poet."
"In order not to erect a statue I made a Rimbaud plural fleeting and wandering. By vulnerability of the paper, his disappearance is recorded in the image itself, it
is one of the suggestive and poetic ... "
Working in conjunction with local businesses
and a dozen workers.
"At that time, I wondered about the role of the artist. Gradually has become a theme related to the degradation of body in certain positions work, assault invisible, slow plaguing the body for years, smoke, noise, pollution various ... "
" ... I chose to deal with a reality that is not mine to make an artwork that expresses what is implicit in a society and that only art and poetry can be updated. To capture all the riches of this reality, I needed to work with those who experience these problems every day ... I drew a character that served as a base image on which are superimposed on the screen, stencil, tearing, burning, bending ...
"... then we stuck the images in the industrial zone in specific locations ..."
"The very form of a fair commemoration was nonsense, the negation of the Commune, a way to trample the memory. I then took the idea literally, and I thought of wallpapering corpses of the ground ... "
" Do not shoot for the work or a proposal for plastic
it is a story. "" My Pictures interrogate the myths, they trace paths that intersect, overlap, they deal with our origins, women, rites of death. "
" My images derive the source cited. They arise from the space offered by the wall, they expressed through face to face with the man who discovered their degradation contributes to enroll in the city. "
Artist website / Click on the link below:
Ernest Pignon Ernest
2010 / Labour in situ at the Museum of Art and History of St. D enis
As of October 15, 2010, the Museum of Art and History of Saint-Denis hosting an exhibition by Ernest Pignon-Ernest, who talks about women, mysticism and body ..
Ernest Pignon-Ernest exposed at Saint-Denis In dialogue for nearly 20 years the great mystics such as Mary Magdalene, Hildegard of Bingen, Angela of Foligno, Catherine of Siena, Teresa of Avila, Mary of the Incarnation, Madame Guyon, Ernest Pignon-Ernest has developed an innovative facility to express the materiality and the sensuality of the bodies of women who aspired to disembodiment.
The work of Ernest Pignon-Ernest, already present in the museum devoted to the Commune of Paris, joined not only by the mystique of the Caramel and the famous figures of Mary Magdalene and Louise, but also that of the poet Paul Eluard inspired by such verses of Teresa of Avila.
"My main thing is the material reality try to assimilate both the plastic qualities (space, color, material, rhythms) and symbolic qualities ... we're lucky to be in front of a limitless variety of plastic materials and poetic. "
"My plastic surgeon intervention occurs in two stages (drawing and collage) that feed off one another ... By working my collages The choice of locations, I work very meaning of the image, I multiply its potential suggestive: I mean, stuck at a certain place or another, the same image means something different, causing a different emotion .. . When I use the silkscreen is not to preserve the original. This is not to multiply a message as is done for the posters. The numbers do not count, I draw pictures sometimes routes in cities, their organization, the path they trace their successive discoveries are part of my interventions as well as the design itself. "
"Payphones ... it is both an isolated and open to others.
people stand behind the glass like a museum. "
From drawings, scans and digital pigment prints were made, then mounted on aluminum panels shaped leaves, to give an exceptional collection of seven women whose body image is reflected in a pond.
"My main thing is the material reality try to assimilate both the plastic qualities (space, color, material, rhythms) and symbolic qualities ... we're lucky to be in front of a limitless variety of plastic materials and poetic. "
1995 / work in situ: Behind the glass
"My plastic surgeon intervention occurs in two stages (drawing and collage) that feed off one another ... By working my collages The choice of locations, I work very meaning of the image, I multiply its potential suggestive: I mean, stuck at a certain place or another, the same image means something different, causing a different emotion .. . When I use the silkscreen is not to preserve the original. This is not to multiply a message as is done for the posters. The numbers do not count, I draw pictures sometimes routes in cities, their organization, the path they trace their successive discoveries are part of my interventions as well as the design itself. "
"Payphones ... it is both an isolated and open to others.
people stand behind the glass like a museum. "
1988-1990 / Naples
their organization, philosophy, constitute a kind of conservatory
living our values of humanist culture, the last tribe of irreducible
Pasolini said, inflexible facing the juggernaut of the Anglo-Saxon
media and liberal. death, his performances and rituals she creates
since time immemorial meet at each step in the streets ...
I went there to question our culture. "
" I use the force s ubjective City, my images are
things appear which potentially are already there. "
things appear which potentially are already there. "
1983-1984 / Arborigènes
The Jardin des Plantes, Paris Museum
Antibes
Forest Uzeste
The Jardin des Plantes, Paris Museum
Antibes
Forest Uzeste
accumulations of plant cell layouts:
they need sunlight, water, or they die, they dry ,
decompose. The plant is in human form. "
In 1983, Ernest Pignon-designed the project "arborigènes "Biological planting sculptures made from polyurethane foam. Composed of living plant cells, they represent the mythical osmosis between plants and humans, embodied by the figure of Daphne Bernini.
How do these sculptures are they alive?
Where and how did you integrate these sculptures in the environment?
Once solved the technical problems by carrying out these forms, we had to tackle one of their integration into the wild. The first installation was in the Moors. I had spread over about three hundred meters. They were discovered by walking through a path similar to what I do with my images in the cities. The second time I have installed the Jardin des Plantes in Paris. If on these Arbrorigènes we could talk about research sculptural plastic, it is obviously not in the form of characters but rather in their integration with nature. It was to create rhythms, empty, full, so that their discovery and the lag they cause trouble to do the space vegetable a poetic and plastic.What happened to these Arbrorigènes today?
Several died during the Venice Biennale 1986. I had installed to twenty meters high. They have been watered and quite decomposed. There are three left at the Picasso Museum in Antibes on the terrace, a dozen European Center for Contemporary Art in Action Park Pourtales in Strasbourg, two in the Jardin des Plantes in Paris, some in pension with friends ...
interview excerpt by Ernest Pignon-Ernest, Editions Herscher, Paris, 1990.
1979 / evictions
Paris
Paris
older ... My parents, at Nice, had been evicted. Moreover, during this period from 1975 to 1980, there were many renovations in Paris, especially near Montparnasse I passed through daily. I found startling, shocking, these buildings gutted this laid bare, this projection in the eyes all traces of people's privacy. This exhibition seemed extremely violent ... also traces of floors, walls may also appear as an organization colors, materials, lines, one can think to research plastic charged with emotions and memories. "
" I found striking, shocking, these buildings gutted, this is exposed, this projection in the eyes All traces of the intimate people's lives. I remember a kid's room, blue paper, cut and pasted the boats which outlined the location of a bed. This exhibition seemed extremely violent, like a rape ... "
" ... Moreover, it is evident that these spaces determined by the traces of floors and partitions may also appear as an organization of colors, materials, lines: These walls are irresistibly reminiscent of visual research, which is more loaded with emotions and memories. Basically, we could just both sign.
1978-1979 / The Paris
Rimbaud Charleville
Rimbaud Charleville
"... I worked hard in the drawing, the attitude, the jacket over his shoulder, the fragility of the wrist, the choice of jeans that give it a contemporary look but also very close to the figure that we know of drawings by Verlaine "...
"The multiplicity of collages in different places I could not freeze the image of the poet."
"In order not to erect a statue I made a Rimbaud plural fleeting and wandering. By vulnerability of the paper, his disappearance is recorded in the image itself, it
is one of the suggestive and poetic ... "
1978-1979 / Grenoble
and a dozen workers.
" ... I chose to deal with a reality that is not mine to make an artwork that expresses what is implicit in a society and that only art and poetry can be updated. To capture all the riches of this reality, I needed to work with those who experience these problems every day ... I drew a character that served as a base image on which are superimposed on the screen, stencil, tearing, burning, bending ...
"... then we stuck the images in the industrial zone in specific locations ..."
1972 / The Paris Commune
"The very form of a fair commemoration was nonsense, the negation of the Commune, a way to trample the memory. I then took the idea literally, and I thought of wallpapering corpses of the ground ... "
" Do not shoot for the work or a proposal for plastic
it is a story. "" My Pictures interrogate the myths, they trace paths that intersect, overlap, they deal with our origins, women, rites of death. "
" My images derive the source cited. They arise from the space offered by the wall, they expressed through face to face with the man who discovered their degradation contributes to enroll in the city. "
Artist website / Click on the link below:
http://www.pigno ernest.com n /
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