De l'objet de design hybride a l'oeuvre-monde : contemporaneite de l'artificialisation de notre environnement

Publisher:
Universite Paris 1 Sorbonne
Publication Type:
Conference Proceeding
Citation:
There is no such thing as nature!, 2013
Issue Date:
2013-02-05
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We can find several examples of artificial trees in art history. The concrete trees made by Robert Mallet‐Stevens and the brothers Jan and Joël Martel for the Salon des arts décoratifs of 1925 in Paris are singular because of their abstract shapes. 1967 born Scottish artist Martin Boyce focuses his attention on these trees and their expressive minimalism. He develops objects and installations signifying outside spaces (the outer air, the landscape...) in the inner space of the gallery. This ambiguity of status of space creates a specific atmosphere, imaginary sceneries, and its sculptures appear as artificial landscapes. These anonymous and synthetic landscapes create sorts of transitional spaces, in terms of sculptures that are not really objects, or just seem to tend to become some. The grids he creates escape for example this object status, and evoke a streaming of space through them. In the outside installation We are still and reflective, the evolution of the piece seems also possible. The structure keeps formal characteristics of openness. Boyce wants the tiles to evolve in time with nature. The hybrid natural/artificial shapes create an ambiguous temporal image of passed objects (in reference to modernist designers) and of possible future artificial landscapes. This melancholic feeling is coexisting with the feeling that simple daily fictions are in play. Boyce’s experimentations in inner gallery spaces, in buildings (like the Scottish pavilion for the Venice Biennale 2009) and in public spaces explore the diversities of perceptions (natural or artificial, real or imaginary) of these hybrid landscapes.
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