Ecstasies.
Gallimard| N° d'inventaire | 17578 |
| Format | 22.5 x 35.3 |
| Détails | 165 p., color illustrations, paperback. |
| Publication | Paris, 2008 |
| Etat | Nine |
| ISBN | |
Ernest Pignon-Ernest was born in Nice in 1942. Since 1966, he has made the street the very site of an ephemeral art that exalts its memory, events, or myths. He has thus prefigured many artistic experiments that call upon the space of the outdoors. Through the powerful, as if timeless, style of his images and the acuity of their inscription in reality (significant choice of sites and time), Ernest Pignon-Ernest's interventions transform places into plastic, poetic, fictional, reminiscent spaces, to the point of making these places and time the work itself. From Chile to Soweto, from Algiers to Naples, from Charleville to Paris, the confrontation of the dramas of our time, as well as the exploration of individual destinies that break with the norm or a myth to revive, force the artist to take a risk that is each time unprecedented, the same one that haunted Rimbaud when he was striving to find the place and the formula. In the 90s, during his collages in the streets of Naples, a verse by Nerval led him to a very free dialogue with the great mystics: Mary Magdalene, Hildegard of Bingen, Angela of Foligno, Catherine of Siena, Teresa of Avila, Mary of the Incarnation and Madame Guyon. For someone who has always made the body the object and the subject of his explorations, the encounter around a theme of this nature is as much a quest as a challenge. How to represent what cannot be seen? How to create an image of flesh that yearns to disincarnate itself? How can we capture the traces, the effects, the lights, the shadows, the sighs or the cries of ineffable experiences? How can we render in strokes such transports, such excesses, such sublimated intrusions?
Ernest Pignon-Ernest was born in Nice in 1942. Since 1966, he has made the street the very site of an ephemeral art that exalts its memory, events, or myths. He has thus prefigured many artistic experiments that call upon the space of the outdoors. Through the powerful, as if timeless, style of his images and the acuity of their inscription in reality (significant choice of sites and time), Ernest Pignon-Ernest's interventions transform places into plastic, poetic, fictional, reminiscent spaces, to the point of making these places and time the work itself. From Chile to Soweto, from Algiers to Naples, from Charleville to Paris, the confrontation of the dramas of our time, as well as the exploration of individual destinies that break with the norm or a myth to revive, force the artist to take a risk that is each time unprecedented, the same one that haunted Rimbaud when he was striving to find the place and the formula. In the 90s, during his collages in the streets of Naples, a verse by Nerval led him to a very free dialogue with the great mystics: Mary Magdalene, Hildegard of Bingen, Angela of Foligno, Catherine of Siena, Teresa of Avila, Mary of the Incarnation and Madame Guyon. For someone who has always made the body the object and the subject of his explorations, the encounter around a theme of this nature is as much a quest as a challenge. How to represent what cannot be seen? How to create an image of flesh that yearns to disincarnate itself? How can we capture the traces, the effects, the lights, the shadows, the sighs or the cries of ineffable experiences? How can we render in strokes such transports, such excesses, such sublimated intrusions?