{"id":45725,"date":"2022-04-12T14:39:17","date_gmt":"2022-04-12T13:39:17","guid":{"rendered":"https:\/\/www.tornabuoniart.com\/?p=45725"},"modified":"2022-05-31T11:56:17","modified_gmt":"2022-05-31T10:56:17","slug":"claudio-parmiggiani-on-fire","status":"publish","type":"post","link":"https:\/\/www.tornabuoniart.com\/fr\/claudio-parmiggiani-on-fire\/","title":{"rendered":"Claudio Parmiggiani – On Fire"},"content":{"rendered":"

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Vues d’exposition<\/h2>\n

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Oeuvres expos\u00e9es<\/h2>\n

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Lorsque j’ai utilis\u00e9 le feu, c’\u00e9tait pour travailler avec un mat\u00e9riau diff\u00e9rent; la cendre et la fum\u00e9e. Dans ces \u0153uvres, c’est la fum\u00e9e qui sculpte et restitue aux choses, non pas l’empreinte, mais une dimension suppl\u00e9mentaire, presque une quatri\u00e8me dimension. P<\/span>as l’empreinte, mais une dimension suppl\u00e9mentaire, presque une quatri\u00e8me dimension. <\/span>La fum\u00e9e, comme le sang de la flamme.<\/span><\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Claudio Parmiggiani, Una fede in niente ma totale, Le Lettere, Florence 2019, pp. 83-84<\/h4>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Choisissant d’occuper un espace qui servait de r\u00e9serve dans la Galleria di Modena en 1970, Claudio Parmiggiani<\/strong> d\u00e9couvre sur les murs les traces de la poussi\u00e8re accumul\u00e9e au fil des ans. L’artiste d\u00e9cide de faire un feu avec des pneus et des couvertures. Une fum\u00e9e claire et grise se d\u00e9pose sur les objets qu\u2019il retire ensuite. L’ombre devient alors une forme plastique, un motif de poussi\u00e8re qui fixe de l’int\u00e9rieur l’oscillation du temps.<\/span><\/p>\n

La repr\u00e9sentation se rapproche \u00e9galement de la m\u00e9thode photographique qui prend l’image, l’inverse, cr\u00e9er un n\u00e9gatif avant de le d\u00e9velopper. Ses Delocazioni<\/em> – c’est le nom donn\u00e9 \u00e0 ces \u0153uvres – sont un espace vide de perceptions physiques, o\u00f9 pourtant le spectateur a la sensation d’entrer dans un lieu habit\u00e9. L’absence d’objets pr\u00e9c\u00e9demment expos\u00e9s rend les murs encore plus clairs ; il n’y a rien d’autre que leur trace de suie \u00e0 voir. Parmiggiani cr\u00e9era une installation in situ<\/em> pour cette exposition.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”47099″ img_size=”large”][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

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N\u00e9 \u00e0 Luzzara en 1943, Claudio Parmiggiani<\/strong> se forme \u00e0 l’Institut des Beaux-Arts de Mod\u00e8ne. Tr\u00e8s jeune, il fr\u00e9quente Giorgio Morandi, dont l’influence est plus \u00e9thique que stylistique, et commence \u00e0 utiliser des moulages en pl\u00e2tre peint pour ses \u0153uvres, que l’artiste d\u00e9finit comme des \u00ab peintures sculpt\u00e9es \u00bb. Sa premi\u00e8re v\u00e9ritable exposition a lieu en 1965 \u00e0 la librairie Feltrinelli de Bologne : c’est l’\u00e9poque du Gruppo 63 et des po\u00e8tes r\u00e9unis autour du “il verri” de Luciano Anceschi, dont Parmiggiani sera tr\u00e8s proche. Au fil des ann\u00e9es, il publie de nombreux ouvrages.<\/span><\/p>\n

De nombreuses id\u00e9es ont caract\u00e9ris\u00e9 ses recherches de mani\u00e8re tout \u00e0 fait originale et pionni\u00e8re depuis le milieu des ann\u00e9es soixante. Un esprit radicalement iconoclaste sous-tend tout son travail. Les premi\u00e8res Delocazioni<\/em> datent de 1970, des \u0153uvres d’ombres et d’empreintes r\u00e9alis\u00e9es avec le feu, de la poussi\u00e8re et de la fum\u00e9e, repr\u00e9sentant une r\u00e9flexion radicale sur le th\u00e8me de l’absence et de la trace, qu\u2019il d\u00e9veloppera plus tard pour devenir le pilier de toute son travail. Ces \u0153uvres prendront un caract\u00e8re \u00e0 fort impact visuel et \u00e9motionnel, on se souvient des cr\u00e9ations th\u00e9\u00e2trales pour le Mus\u00e9e d’Art Moderne et Contemporain de Gen\u00e8ve (1995), le Centre Pompidou de Paris (1997), la Promotrice delle Belle Arti de Turin (1988), le Tel Aviv Museum of Art (2003) et le Coll\u00e8ge des Bernardins \u00e0 Paris (2008).<\/span><\/p>\n

Depuis le d\u00e9but des ann\u00e9es 1980, il r\u00e9alise une s\u00e9rie d’importants projets mus\u00e9aux, dont Terra<\/em> (1988), une sph\u00e8re sur laquelle sont imprim\u00e9es les empreintes de la main de l’artiste enterr\u00e9e dans le clo\u00eetre du mus\u00e9e des Beaux-Arts de Lyon, lieu de dialogue avec l’absence de l’\u0153uvre et l’expression de sa nature spirituelle, m\u00eame invisible, et les expositions \u00e0 l’Institut Mathildenh\u00f6he de Darmstadt (1992); \u00e0 la Galerie hlavn\u00edho m\u011bsta \u00e0 Prague (1993). Dans les ann\u00e9es 2000, ses expositions \u00e0 Cuba (2006), Moscou (2017) et Nashville (2019) ont \u00e9t\u00e9 importantes.<\/span><\/p>\n

Il a pr\u00e9sent\u00e9 ses \u0153uvres dans de nombreuses autres institutions internationales prestigieuses, tant publiques que priv\u00e9es. Parmi ses interventions permanentes, Il Faro d’Islanda<\/em> (Le phare d’Islande) (2000), Ex-voto<\/em> au Mus\u00e9e du Louvre (2007), Porta Speciosa<\/em> pour le Sacr\u00e9 Ermitage de Camaldoli (2013) et l’\u0153uvre \u00e0 la Chambre d’Amori de la Villa M\u00e9dicis \u00e0 Rome (2015).<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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[vc_row][vc_column][vc_column_text] << retour au menu [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_video link=”https:\/\/vimeo.com\/698586508″][vc_separator][vc_empty_space][vc_separator][vc_column_text] Vues d’exposition [\/vc_column_text][vc_gallery interval=”3″ images=”46697,47096″ img_size=”full”][vc_column_text] Oeuvres expos\u00e9es [\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_empty_space][vc_empty_space height=”24px”][vc_single_image image=”45734″ img_size=”1450×1088″ add_caption=”yes” alignment=”center”][vc_empty_space height=”24px”][vc_empty_space height=”24px”][vc_single_image image=”45742″ img_size=”1450×1088″<\/p>\n","protected":false},"author":5,"featured_media":45314,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[295,1],"tags":[],"class_list":["post-45725","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-295","category-news"],"acf":[],"yoast_head":"\nClaudio Parmiggiani - 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