Vendredi 03 Août 2012 15:13:22 par actuphoto dans Expositions

Yvan Salolnone was born and continues to live in St Malo, in town just a few miles along the Brittany coast east of Saint-Brieuc. Sitting In his house, the day after our cafe de Flore rendez vous with Raymond Hains, l was looking through the newest in his ongoing series of cahiers: beautifully constructed artist's books, bound together from black-and-white images of his own watercolours alongside a free movement of reference images, from film stills to paintings, to book illustrations, drawings and photographs. Then, suddenly, in the midst, was the title image from Werner Herzog's 1971 film Fata Morgana. Yvan had first seen Fata Morgana in 1977 when he was 19 years old, but had never seen it again, or in fact met anyone else who knew it. Some 20 years later, while sharing a taxi with strangers driving through the outskirts of Dakar, he had strong recollections of the film that he had begun to doubt ever existed. He started talking about scenes and images that he was beginning to recall, when an Argentinean fellow traveller, setting in the front seat, turned and told him that he had also seen the film. The precise moment he had entered a landscape that recalled the memory of the Herzog film was the exact moment he met someone who could confirm it existed. And yet the subliminal impact on his work seems so apparent. When Yvan first watched Fata Morgana, he wasn't an artist and, ln the end, decided not to go to art school. He developed his own very individual style and ritualised working practice alone, a few years later, using a medium that is both traditional Breton but held somewhat in contempt by the artists of the region: the watercolour painting. It feels like he has roamed the docks of St Malo and beyond looking for Industrial detritus and man-made waste with his eye fixed on entropy, but he is also a world itinerant. He told me he made the painting of the dead cow - an unusually organic subject matter for him - after he photographed one in Africa, but was clear he had no conscious memory of the presence drought- killed cattle have in the Herzog film. Likewise the unsuper- vised Algerian military camp, the aeroplane crashed into the desert, the tens of thousands of empty oil drums in the in the wilderness or the half-built industrial machinery abandoned and functionless hundreds of miles from any human habitation must appear like phantasms, or mirages, in the subconscious imaginings behind some of Salomone's images. fata Morgana was scripted as a science-fiction film where alien visitors from Andromeda arrive on a strange uninhabited planet and record everything they see. But the images Herzog found in the desert were hallucinatory and remarkable and without need of a narrative, and so he just filmed what interested him over the course of his journey across the Sahara desert. At one point, you stare at the arrival of a coach surrounded by people in a landscape: everyone is bustling about and the coach does a manoeuvre. Despite terrible heat and terrible thirst, Herzog filmed this scene. Only after he had finished did he and his crew go over to the bus to ask for ice, but there was nothing there: no coach, no people and no landscape, just miles of flat sand. lt was a mirage; it was fata morgana. The coach, the people and the landscape were somewhere but they didn't know where: mirrored from out of space. I am haunted by the image of a boy holding a tiny desert fox up to the camera; holding it there stock still, both of them, before dragging the fennec across the sand on a lead. I am haunted by this, because today it makes me think of Nerval and Architect and Engineering, National Prize of architecture in 2006, Rudy Ricciotti is representative of this generation of architects who combine creative power and really constructive culture. Based in Bandol, he appears as an activist of contemporary struggle on lands mined by the neo-Provençal regionalism. Author of famous achievements in France, including the National Choreographic Center of Aix-en-Provence, he also has been able to win an international stature, as evidenced his works outside our borders: gateway for Peace in Seoul or Philharmonic of Postdam. « The dimensions of the parcel available for the construction of the CCN are limited, one could say restricted. This represents not only a challenge, but also an opportunity. The project is born out of the necessity to restrict; it will be skinand the bones only. In the schizophrenic concert of the architectural quarrels (neo-modernism fireman, degenerated postmodernism, high-tech colonialist, mac-architecture-cathodic) it remains an emergency act, which will end up being confused with Utopia, the act of reconstituting gesture. For that it is still necessary to agree on the idea of effort and work as virtue. Architecture has lost the taste for that. While work has became aesthetically incorrect and effort has beenconsidered politically incorrect. Refugee in the space of culpabilityand bad conscience, much like Victor Hugo's Jean Val Jean, the architect keeps the foot on the coin. In this battle of CCN, the search for more soul can only come from the obvious. Knock, knock. Who is there? Body or spirit...fish or bureaucrat...structure or envelope... minimal or minimum... collaboration or resistance? In the beginning the need for open floors, completely free of constraints, required the shift of the structural load to the facades. In order to avoid walls or interior pillars, the choice of great range floors was evident. The management of the vertical and oblique structural constraints necessitated by the famous seismic regulation PS 92, required a newexercise - the mathematical modeling of the structure. We asked the Computer. What does he think about it? The answer was prompt: constructive realism (descent of the structural charges), neo-realism (virtual earthquake), rationalism (efforts of the wind), etc... A new rationalism constructively unspecified. The ambition of this project is to stand in the face of the objective facts of the dictatorship of mathematics, nothing more and nothing less. The structural solutions celebrate effort and work, skin and bones, weak against strong. More than that, we cannot do. » Rudy Riccioti his lobster.