Jean-Marc Bus­ta­mante

Art Press - - REVIEWS - Paul Ardenne

Ga­le­rie Thad­daeus Ro­pac / 15 jan­vier - 5 mars 2016 Ces neuf Aper­tures s’ins­crivent dans le par­cours d’un ar­tiste des cir­cu­la­tions sé­man­tiques et du « OA­NI » (Ob­jet Ar­tis­tique Non Iden­ti­fié), un par­cours en­tre­pris dès les an­nées 1980 avec les Ta­bleaux, pho­to­gra­phies grand for­mat jouant du « de­ve­nir ta­bleau » de la pho­to­gra­phie lorsque celle-ci agran­dit sa taille et se fait ob­jet unique. Bus­ta­mante ne cultive pas in­no­cem­ment l’am­bi­guï­té. Sa dé­marche pri­vi­lé­gie entre-deux de la per­cep­tion et in­ter­stices du sens. De quoi s’agi­til : pho­to­gra­phie, pein­ture, mon­tage, bri­co­lage ? Une ex­pé­rience me­née au plus proche de l’as­cèse poé­tique. This ex­hi­bi­tion consists of nine lar­ge­for­mat pieces fea­tu­ring lines and co­lo­red brushs­trokes on a pale yel­low back­ground. On clo­ser ins­pec­tion, ins­tead of pain­tings, they turn out to be pho­to­gra­phic re­ports. Jean-Marc Bus­ta­mante used graph pa­per to re­pro­duce his free­hand dra­wings, pho­to­gra­phed the re­sult and then prin­ted the large-scale blo­wups on sil­ver pa­per. The ef­fect is that of a se­ries mar­ked by me­tho­do­lo­gi­cal re­pe­ti­tion. The title of the en­semble, which is al­so that of each of its consti­tuents, Aper­ture, casts fur­ther doubt on this de­li­be­ra­te­ly am­bi­guous en­ter­prise. Where does co­pying and me­cha­ni­cal re­pro­duc­tion end and art be­gin? An aper­ture is a gap, usual­ly al­lo­wing you to see through so­me­thing and glimpse so­me­thing else. It al­so re­fers to the ope­ning of the dia­phragm that controls the amount of light en­te­ring a ca­me­ra. In short, mul­tiple en­tries in­to the me­dia and forms used in this trans­ver­sal and enig­ma­tic work. These nine Aper­tures are a na­tu­ral conti­nua­tion of this ar­tist’s in­ter­est in se­man­tic cir­cu­la­tions and ONA (Uni­den­ti­fied Ar­tis­tic Ob­jects) going back to the 1980s when he made Les Ta­bleaux, large-scale pho­tos de­mons­tra­ting how a pho­to can be­come a pain­ting when en­lar­ged and dis­played as a unique ob­ject. Bus­ta­mante’s culti­va­tion of am­bi­gui­ty is ne­ver in­nocent. His ap­proach brings out the gaps in our per­cep­tion and the in­ter­stices of the senses. What are we loo­king at, pho­tos, pain­tings, mon­tages, bri­co­lage? As he car­ries out these ex­pe­ri­ments un­wa­ve­rin­gly, the re­sult is a kind of poe­tic as­ce­ti­cism.

Trans­la­tion, L-S Tor­goff

2015. 253 x 192 cm « 2015. 253 x 192 cm Light­jet on sil­ver pa­per

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