An­dreas Sch­mit­ten

Lau­réat du Fal­ken­rot Prize 2017, An­dreas Sch­mit­ten est un ar­tiste mul­ti­dis­ci­pli­naire dont l'oeuvre tra­duit un re­gard tein­té à la fois d'iro­nie et d'in­quié­tude sur nos so­cié­tés. Né en 1980 à Mön­chen­glad­bach (Al­le­magne), il s'ins­talle à Düs­sel­dorf où, après

L'officiel Art - - Sommaire - par Mat­thieu Jac­quet

Win­ner of the 2017 Fal­ken­rot Prize, An­dreas Sch­mit­ten is a mul­ti-dis­ci­pli­na­ry ar­tist whose work re­flects a gaze tin­ged with both iro­ny and concern for our so­cie­ties. Born in 1980 in Mön­chen­glad­bach (Ger­ma­ny), he mo­ved to Düs­sel­dorf where, af­ter stu­dying at the Aca­de­my of Fine Arts, he crea­ted in­tri­guing sculp­tures and ins­tal­la­tions, cold and de­hu­ma­ni­zed ar­te­facts that awa­ken wi­thin us this fee­ling of ab­sence. The ab­sence of the sub­ject fa­ced with the pre­va­lence of the ob­ject, the dis­so­lu­tion of man in the pure ma­te­ria­li­ty which re­places the hu­man. His se­ries of un­tit­led dra­wings par­ti­ci­pate in the ex­pres­sion of his cy­ni­cal gaze on the world: by ap­pro­pria­ting the ico­no­gra­phy of tech­ni­cal ma­nuals, he de­picts scenes as violent as they are ab­surd, smoo­thed over by the pu­ri­ty and sim­pli­ci­ty of his lines. It is a crea­tion full of sym­bols, in which im­pli­cit pain is ma­ni­fes­ted on­ly in Sch­mit­ten's cri­tique: a la­tent but vi­ru­lent cri­tique of this ar­ti­fi­cial world that em­pha­sizes a func­tio­na­lism which will even­tual­ly re­place our hu­ma­ni­ty.

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