SERIE «HORS CADRE», épisode 11 | Chaque mois, l’artiste peintre Vinciane Vuilleumier explore la thématique de notre rapport aux images et aux espaces de l’art. Que se passe-t-il en nous quand nous rencontrons un objet esthétique? Comment comprendre cette relation qui a tout de l’idylle secrète quand elle est sincère? Adieu, pédanterie et institutionnalisme des musées. Bienvenue dans une folle série qui donne un autre sens au titre de votre magazine, Le Regard Libre.
Vinciane Vuilleumier explores the theme of our relationship with images and art spaces. What happens to us when we encounter an aesthetic object? How do we understand this relationship, which has all the makings of a secret idyll when it's sincere? Goodbye, pedantry and museum institutionalism. Welcome to a crazy series that gives new meaning to the title of your magazine, Le Regard Libre.
Vinciane Vuilleumier explores the theme of our relationship with images and art spaces. What happens to us when we encounter an aesthetic object? How do we understand this relationship, which has all the makings of a secret idyll when it's sincere? Goodbye, pedantry and museum institutionalism. Welcome to a crazy series that gives new meaning to the title of your magazine, Le Regard Libre.
Exposition jusqu'au 31 octobre 2021
ARTICLE LONG FORMAT, Vinciane Vuilleumier | It's the dawn of a new world and the earth is shaking. Humankind has become entangled in its own cataclysm, and those who have survived are struggling in the spider's web: what is tomorrow to be? We're in Germany, 1920. The king has fallen, factions flare up, one takes power and then the other. The individual is a patchwork quilt, we tear each other apart and pick each other up as best we can. What an experience it must be, really, to go through such a violent storm - the world will never be the same again, it's true. Man and his ecstasies, man and his hatreds, man and his chimeras - man in the in-between who can't help but lose his footing.
ARTICLE LONG FORMAT, Vinciane Vuilleumier | You never know when and where art will turn up. The idea may seem strange to an art history graduate, but in reality, many people don't practice museum art. I wasn't much of a museum-goer either, back in the day, before I fell into the words and all that museum art makes people say, think and dream. The museum is an open, public place where we gather together a lot of things that are supposed to make sense - and they do, it's true, when we're told they do.
LONG FORMAT ARTICLE, Vinciane Vuilleumier | Works on paper always hold a special fascination for me. Perhaps this is due to the fact that the support is always present and plays an active role in the image - it is, after all, the negative space we use to bring out the light. On canvas, a smooth, unified pictorial layer leaves the illusion that we're looking at an image, only - the technique is so perfect that it masks the object and the creation under the guise of a scene. On a sheet of paper, the traces bring out the drawing, but the marked surface remains visible - its grain, its hue, the marks of time and wear, it lends its matter to the composition.
ARTICLE LONG FORMAT, Vinciane Vuilleumier | Paintings teach us to see. They exercise our sensibility: through paintings, the country becomes a landscape. Alain Roger speaks of artialization in visu: cultural productions, whether artistic or literary, dynamically constitute regimes of vision, showing us how to aesthetically see portions of reality that we had hitherto skimmed over. The first country to become a landscape was the countryside, followed by the seaside, the immensity of the ocean, the grandiose spectacle of the Alps. By dint of having seen such beautiful representations, we take a fresh, sensitive look at reality when it presents itself in these forms contemplated elsewhere.
We hang it on the wall, stick it in a notebook, slip it into a book, send it to a loved one, keep it preciously in a wooden box with the rest of the collection: the postcard is everywhere. There's nothing quite as vivid a feeling as finding a postcard in a second-hand book that wasn't once ours, and which bears the markings of an exchange or a memory we've missed.
French 
German
English
