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Portfolio PDF - Meessen De Clercq

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1. un LIE AR am m co ico En TRU uon S Ft CE qu line ete ee Sn sn ER LA E aik UT re aad wr po JC ri ad te ajaja PO pere dge 0 re ae ee ow on ee a ne FRE er ste RP erate eth er LEF 3p 8 DE BI ode ra m Ca EEE ER OA Epor E 6 Ve Marz ptam ESEL ET pn eE ee ES carr ee p EA ess du vet yee e Oe E SE E EUR mala BE BL Er HEHE SE md aa PRE ge Ba ame ne DLE ON Er 4 1 Fo LAN ENE 9 UE EHE BE mom uem m a dd oa a pe L he Ee a ATECA Fall CNET Od un ees BL E EUR LATE E Er ar TE its ts UD Seale eel ee e Ace w x x dot A RTR CHR nh LA a E z J NE T PE a A a or Lh E et Da e ETT eli RER RE DE n n hs 9 mt PU Wr D A Da aa See E Vi ia eam 4047 004 T es akt da ste ais alle A n a E a Tr x Lans a ee Ts eR es 2T ed x gt ok mI en v a n 44 2 s nr oma m x x Fi ald 24 alae fs Pierre Ru a
2. Ten tae TECH ug b 2 in eu f f ee Her Ores be oe see cpu UN UE tie X ad kunden Feces RE soo ow do m CE i SUA PEST RARES 4 ASS u she amc dumm pora acm 1 rm ive bomim d pot Pye Re a ee QUE Eu E j cad Pee amp la d a P Um ar Boe m 8 4 4 Gj m a m f m da amp F a m 5 wow a s 4 B J E h amp B 7 a aS E RO o wm mm en a 3 B w i Ce ri e EAT qaa EID iuri gru rA de mu ca A amor ou n ow Pn E um Aa NC M 5 Ink on wood plexiglass 2 a mh E a mg e ata f B SRE ou S ge r m r E H TE T LIS t MT 0 elf ee x kom E 4 fes a n RR T NUE I NO sr E a e 4 M x 60 x 80 cm UR m ATL Lax e a ba wh ft o amp A ym A as ete ta M ml mE q 1Y ne a eat 5 Vo e a al ji mi Bow 2 cee la Lal a E A T 2 mon i i su Lyr m EE Sarthe n A p En ri m f E Bo P a F X 3 i x C n E
3. 122 En attendant la foudre 2009 Copper rod fossilized tortoise Variable dimensions A tortoise fossil dating back more than 25 million years has been placed opposite a wall against which leans a stem made of copper element that conducts electricity This living being has been retrieved intact its matter transformed into stone over the course of a slow process of evolution Lightning represented here by the copper can destroy this future in a split second Coming face to face the two temporalities give rise to a kind of space time vertigo 124 Coprolithe 2009 Fossilised dinosaur excrement coprolite Adidas trainers ca 45 x 35 x 10 cm On the ground lies a pair of brown Adidas trainers In front of the trainers a sort of wizened coral of the same colour in reality fossilised dinosaur excrement The homage to Piero Manzoni s Merda d artista is caught up in Evariste Richer s whirlwind of references temporal vertigo imprinted in matter the retinal trap the delusion of the concept unite to forge a self awareness that positions man in a quest of which he will always find himself at the very heart The trainers have been worn they bear the mark of a man s feet His body is absent like that of a dinosaur that is all the more formidable as it hunts down its prey in our imagination 126 Syncope 2011 Fossil of whale s intervertebral disc bugle 45 x 16 cm Rhythmic figure the syncopa
4. A Modele standard 1 2012 156 Mod le standard 1 2012 Pigment print on Hahnem hle paper 305 gr 146 2 x 271 8 cm Modele Standard 1 is a 1 1 reproduction of a sheet of particle board With this work Richer emphasises the mimetism between the reproduced board and the original in an allusion to Duchamp and his ready made We are also made to think of the infra ordinary because the artist is encouraging us to pay attention to the banal the ordinary The trivial takes on an enhanced quality and we are surprised by taking a keen interest in detail and picking out a small item in the profusion of objects around us The loss of reference points is accompanied by heightened attention an analysis of every kind of the redistribution of particles We look at the external complex structure of this mistreated compressed reduced material A work as stable as a religious picture and which embodies all the strength that enabled it to exist We are looking at mistreated matter which has found rest to paraphrase Caillois 158 Les Invariants 2008 Diptych Okoume plywood 494 x 190 cm each The big right angle triangles of Les Invariants diptych are each made of exactly the same pieces of plywood two right angle triangles one lager than the other and two perfectly interlocking L shapes but with the pieces arranged differently while the first is a complete triangle the second includes a hol
5. Fr EK OY ee E E rE ner e l LA ae T 2 9 mu y nenn da icy d gal Rog Cael ne r HEP ss Rp aoe pu ae d a n A EL SEE D a t 19778 Foa og A aes FRET Pete a F TT Hn HERE IEE JR ahead CU TEE t a la Che ete hepa LUE coe nies E pee gu MIU AE cape R F gt IE as s r e es 474 Ak 2 w dire Wee es ee L SUE ab ome HEHHE a LE IT HN ysl as d hs lr UNO wee moron Ale wep ee e s ert m IDU CODICE Y ACTU SE a re w a Tw w 7 um 56 eae vr I laud ar fe M RIA EVE er PE s T AD onde aia 4 Au d F b cR m dome es wm E au Eo me Msn Li uS EE uS I nix dd Te a a E eb ehr ehr fie EA gs un mE a RC a A re pe 24 7 1 m a pd es ype TE E eee i45 d ee 1 T M Se b Jv deer x SE Sut apis irs me 2 en m LEL EU a AE o arz ur re i Jr DE E ee ee E gt ate a Re ee E Wr aaa d
6. d ote r aq Rs mm fl Hr i AAT pe TE 4 4 4 bas eee B gt 8 Sheer ode Re een es salah ahi a d US r UE E Nd Mr a Ex gu ay E wi 5 iiA L E LAT a CUR lt TA aA Bd ee AMEN REE ar HE P ce SERIE en A ES d iie it e E rer T k A om j aie SR en al AUS ET Gai 4 4 Mt ex arab Wd ar um n 3 AA at ni E OE FEFE Peg Fe s a4 ALIA a EEE ipo tee Fe d amp irr ANR E 5 SS ne TE RT 1 ZU TE er a 4444 bee a R Rd a E d ee EN L i COR x Y an em 220 4 fe oes pr cea s GR 8 ee LE a pt AE P DT jg ade aterm ped 2 D i ve LET 20 RODE bee a ER n ch h T Ek held ema Re a ep T SYS ak 2 Te muero ob o ew ru was 4 d lt LE E Gd l Ma eek sree la a Bar E eee AR eat LM t MEER Ere Aaa be Deol JT x LLL d E nr i En Sap ant Pott 1 b ee LLL oH Sey ay eae Es et 1 amp d n q
7. ta ea res a 4 De mim m mes A A a L Cr ira a D als so APR Em EE AR Viu RARI BIETER Room H ns PAP Se He quid ee mia mir arra pre r MODE EEE CRT ee gt as AN EB LI Re N oho Bo o4 4x te a bok po s S hat put pas cM r e ed BT auae A eta fo ae eet ae Eure LE SR LATICES Maat Sa doces CV a t SLE petra ENTRE ee m E an v MATE RE BSD pte d i ips gt 1 EU E MANU REIS VO a ORE i D iu E Ip SO ce LIT p E M eat e Egi eee Pad 294 mir Sram b M m QUES Tn ed nn eR eC nn dr ALES IL Exe sce ety opal REES E BE cro cae E aia h esr rate E nv MO Lc CU UAE CUT UE creda 5 mE s EL a 4 sete wet ee Fes oe Ts res Pitta r CRM aha AE scale br chr baad ea Moa e Fe own k st 3 is Part sine ecu md Pe echa Samo eee ein gt Tut Eg rw Pa om Dias eta tes 1 m a om press rect uU a m k m E dz e t cp ts keB ir OF lr oe di d Te i e DEAS x 1 ae ti A urit mo xm mw d TS eon i LI 1 4 3 E ILLI DEDI
8. MN n m vn O N V C e gt lt lt A E LL Z e O S2 es Le Grand Miroir Noir 2013 606 frames traditional silver print run B amp W on paper RC pearl 30 5 x 30 5 cm each The Big Black Mirror is a vertiginous and sublime photographic puzzle extracted from the night sky consisting of pictures realized by the telescopes of the European South Observatory in Chile This fragment of planetarium becomes here an enigmatic mirror of the universe in a way that we might lose the measure of it 26 Meteor 2009 Bowling ball and rafter Variable dimensions Welcomed at the outset by a threatening work by Evariste Richer called Meteor the visitor will be compelled to choose a path to the left or to the right of this bowling ball held against the ceiling by a wooden chevron 4m50 high The worrying strangeness of the world is highlighted here 28 La Palette du Diable 2012 Silver print 102 x 127 cm Evariste Richer is always eager to tackle the issues that are gnawing away at him he makes works of art that enable an understanding of the world in its spatio temporal complexity His work probes through various disciplines such as geology geography and astronomy which condition our perception of things He observes the mismatches and dividing lines between these disciplines to give a new perspective This division of ti
9. e e Teta i wr gt 4 e dl Pei ed E rra Wa i Pr ur Ser E s xi a pe CAE T EC t pi a ad A m Y AUR qom Ta E ox ROI aon an d DEC pees er in Vd arten fa NEAR Mi ads mr s abc ea ess 4 ee rn A Ah a aj 44 4 d bom xo sai d RE RER Us LE p CA Ope ELE Pax pen REMO cp rus Pur rent h tib a E Rowe xr ue mor pero AE ta iuh gel HA cd STE se ee u rfe AE RE te d US hips a ola D a tum rr A us ci E E rich 4 19 r s Ue p EI mq lt e 7 2 PE te 4 k B wot ae a E lass m vn i Fu E E ae m A F m mom d im o Wo eine T www ae E S me ats ee Far un BL gt rts l en py eT ET N nn Fe Hrn i S SA RSS e OE kar RJ LEE Rs par parce hash eet RE AN ada He See LE Lr oe La ELI om 4 NT uum v T reso e 3 me ee pl a ed E ape 7 m m ps a dux le iA DE rs WT lie l a doo o3 4d ow
10. 07 THH LT THH FTT EIU II E t TY EIU iE E IT ELT LE 1 T 21 08 EI 21 08 El 127 08 t 22 Qu EL 72 Bi or 26 0 EL T E E FE BT di CO 9 1964 FEE a tidi DISCOWERER COSMOS STRELA 1 IMPROVE SAMOS 13 HITCHICKER 7 DISCOVERERA FERAET 7 MARINER 2 EXPLORER 23 DISCOVERER 5 ORBIS EXPLORER 24 MARINER 4 2 COSMOS D5 2 2 IMPROVE SAMOS 14 COSMOS 61 TRANS TAGE 1 CENTAUR 2 TRANSIT 5 TRANSIT 0 2 DISCOVERER SAN MARCO 1 D COVERER 86 EXPLORER 26 FERRET 11 COSMOS 52 DISCOVERER 87 DMSP 44 1 P 35 T8 OY 1 1 TIROS 9 IMPROVE SAMOS 15 COSMOS 53 0502 LES 1 COSMOS 5 2 PEGASUS 1 SATURN 9 RANGER 8 1 6 COSMOS 55 COSMOS 55 COSMOS 57 DISCOVERER COSMOS 58 CENTAUR 5 COSMOS 359 GRAB GGSE 2 GGSE I SOLRAD TE SECOR 3 OSCAR 2 SLURCAL 4 PROCLHHNE 1 TRANSIT 0 3 SECCA 2 COSMOS IMPROVE SAMOS 16 COSMOS 61 esc er COSMOS EJ P 35 11 VOSKHOD 2 RANGER 9 GEMINI 3 COSMOS OGCOVERER SNAP 10 A 4 INTELSAT EARLY HIRD LLIMA E 8 8 COSMOS 85 MOLNIYA 1 1 IMPROVE SAMOS 17 HITCHHIKER EXPLORER 27 DISCOVERER 90 LES 7 LCS 1 COSMOS 645 LURA 5 DISCOVERER P 35 17 PEGASUS 2 SATURN 8 APOLLO BP 78 COSMOS 67 IMPROVE SAMOS 18 Ov 1 3 EXPLORER 28 GENINE 4 LUKA 5 DISCOVERER 97 COSMOS 68 BALLAST TRANSIT O4 COSMOS 69 IMPROVE SAMOS 19 HITCHHIKER 9
11. o m d E s f a e D a2 eo z Eo _ T na e e a m a B the o a id e n a aO o Es a m a a e o e a o iB 3 e n 4 oo a e 2 a ea S 9 2 o x o v a s WAS o Fit o a a 2 So T o e D io L a A gt ua is B a o 5 a Di 1 a ie P Ca 1 a a a Ea T amp 9 a X t Atlas Ellipticalis 2012 Pigment print on rag mat 80 parts 66 x 49 cm each Richer s Atlas Ellipticalis is a reinterpretation of one of the three atlas of Antonin Becv r l Atlas Eclipticalis 1950 The Becv r s astronomic atlas is the most well known and the most amply used since the 1950s However a certain drift of address and coordinates dedicates them to a progressive disuse subjecting this charter in time in the space and in the definite point of view which ensues from it So the distortion as the artist brings in conformance with the first one of a series of three atlas of Becv r Ellipticalis Borealis and Australis cheek on the notion of ellipse mathematical term indicating the trajectory of celestial bodies and a stylistic devi
12. Qol shie a 4 ele er housses en nl eh n n al sja Rod d oe om n Wn Ve Le bdo V rti puzzle each piece he takes and puts back that he examines or caresses every combination he tries and re tries NECS ass 4 gt ie ce ek ee ne sen et sa ee Oa FEM nr f m d u eoe a a x4 4 ls nom aus os wo eje o amd sa rorum ron a a e EA olo Mla TE ST ji 1 x ir dx every trial and error every stroke of intuition every hope every discouragement has been determined calculated ln ae Ju FE ce ee a DEDE CS GO es MR iro DE de 0 i X la ha es ren ee a pu pod Tr r poo eie aea Le ae Ra EI Ms rts t studied by the puzzle creator G Perec een e mu 4 rmt ae ON el ee es PE SHER a f x es ss las Be im E ti sw cdd a ota nenn oL OR m 8 4 aT m m Las f Es 4 anie fa a MIR T DEBATTE FEN r x er ES Vni almi CA a LA y f 4 f m al a 5 8 m mj B au M a Boa B a a us F ha es Le po A MO V e 2 FRE 2 pre Un ADRE CU Vei ea A PS Rr cuim
13. Resilience curated by Lauranne Germond La T lerie Clermont Ferrand France Le pire n est jamais certain curated by Christian Debize Galerie de l esplanade de l Esamm Metz France Drawing Time Hors les murs du FRAC Lorraine curated by B atrice Josse and Marie Cozette Galeries Poirel Nancy France Ellipse Eclipse Schleicher Lange Paris France Ellipse Eclipse Galerija Gregor Podnar Berlin Germany 2009 Radical Autonomy curated by Sophie Legrandjacques and Arno van Roosmalen Le Grand Caf St Nazaire Centre d art contemporain Saint Nazaire France Esthetique des poles Le testament des glaces FRAC Lorraine Metz France Les nuages La bas Les merveilleux nuages in collaboration with The FRAC Haute Normandie Mus e Malraux Le Havre France Spy Numbers Palais de Tokyo Paris France Le trosieme lieu Der dritte Ort curated by Anne Faucheret Grazer Kunstverein Graz Austria Pragmatismus Romantismus Les materiaux du possible curated by Anne Bonnin Fondation d entreprise Ricard Paris France From the corner of the eye The extra infra ordinary Schleicher Lange Paris France 2008 Acclimatation curated by B n dicte Ramade Villa Arson Nice France Dans le cadre du cycle Neutre Intense curated by Christophe Gallois Carl Freedman Gallery London UK Fragile de l art du Cab Centre d art Bastille Grenoble France Fabricateurs d espaces curated by Nathalie Ergino IAC Institut d a
14. according to the side used As a rule this type of reflector is no larger than a metre in diameter which means that these made to measure models look totally out of proportion In Richer s La Retine exhibition at La Galerie Contemporary Art Centre in Noisy le Sec 2007 they were placed in front of the windows partially blocking them while at the same time capturing and diffracting the light of the sun The spectator could stroll around these sculptures which triggered an interplay of reflections both inside the gallery with the other works in the exhibition and outside with nearby buildings The patches of light they projected onto the neighbouring facades had the effect of defocusing the eye and inducing it to linger outdoors on the periphery As a result the exhibition space was almost turned inside out in a way somewhat reminiscent of the tennis ball in Blow Up or the blue backs of the images in Equivalents For Ellipse Eclipse both reveals and conceals Ellipse gives off a silvery halo but offers the eye a golden disc Eclipse provides a golden halo and a silver disc For a viewer caught between a time warp and occultation of physical reality there seems no escape from the absence conjured up by the paronyms Ellipse and Eclipse Yet out of this perceptual hiatus springs a broadening of the work s space effected via the eye and extending beyond the walls of the exhibition venue 102 104 My Ultra Violet 2010 Diazo prin
15. curated by Julien Fronsacq Palais de Tokyo Paris France Dimensions Variables curated by Nathalie Ergino and Anne Stenne IAC Institut d Art Contemporain Villeurbanne Lyon Villeurbanne France Champ 4 Exp riences curated by Marianne Lanav re Centre international d art et du paysage lle de Vassivi re France D fier 1 Ephemere CCC Galerie Experimentale 2012 Tours France Particles Meessen De Clercq Bruxelles Belgium 172 Futur Ant rieur Retrofuturisme Steampunk Archeomodernisme galerie du jour agn s b Paris France La peinture sans les peintres curated by Marjolaine Levy Centre d art La Villa du Parc Annemasse France Decalage Schleicher Lange Paris France 201 Momentarily learning from Mega Events curated by Ala Younis Makan Amman Jordan Le dessinateur comme prestidigitateur curated by La Plateforme Roven Mus e de la Magie Blois France Le monde en morceaux curated by Marin Kasimir Private Collection Frederic de Goldschmidt Brussels Belgium Ecce Homo Ludens Le jeu dans l art contemporain curated by Cyril Jarton Mus e Suisse du Jeu La Tour de Peilz Switzerland Les Amis Imaginaires curated by Jeremie Gindre Fonderie Kugler Gen ve Switzerland Mondos Nomades curated by B atrice Josse and Raul Rulfo Alvarez Mnav Museo Nacionales de Artes Visuales Montevideo Uruguay Alertes curated by Alain Berland Coll ge des Bernardins Paris France La Vie Mode d Emploi Life a Users Ma
16. that is one meter is equal to one the millionth of the quarter of the length of the Paris meridian This new meter takes as a reference of calculation the average length of a Moon meridian 4 i ri jn PACA a IT Al PALAU i NT T s 11 j d a lo Y re Y L3 mn T uam A i M TL ADLER US Ue SP T M 4 TLLA Hu i Ya H a ETET H hl fy mo LT T 4 h M Dislocated moon 2012 Installation of 25 drawings Blue carbon on paper 327 5 x 327 5 cm overall 65 5 x 65 5 cm each Dislocated Moon is a large drawing of the moon made with blue carbon paper split into 25 parts according to the drawings made by the astronomer Walter Goodacre in 1910 10 i si ne 4 A 4 AN T V E Ls m i T Ar A i id NES T ue S 1 Detail of Dislocated Moon 2012 12 Entre le P le et l Equateur 201 1 Beetle and natural ceramic azurite 8x4x4cm Le Grand Elastique Palais de Tokyo Paris 2013 16 Le Blanc des yeux de Magellan 2013 18 chromogenic prints 100 x 100 cm each Visible from the southern hemisphere and certainly pinpointed since very early times the Large and Small Clouds of Magellan owe their misleading name to the navigator Fernand Magellan 1480 1522 Objects in
17. 5 x 3 cm Perplexing to say the least this object looks like a standard retractable measuring tape except that it lacks the graduations that allow for the taking of measurements However even though stripped of its function as a tool it remains perfectly identifiable thanks to its metal strip and its case Le Metre vierge The Blank Measuring Tape presents a fictive manufacturing defect which has the humorously poetic object in question teetering on the brink of absurdity Here measurement that recurrent motif in the Richer oeuvre finds a radical reinterpretation For a moment we succeed in imagining this implicitly scale less world and its dizzying vision of the immeasurable conjured up by a simple metal tape 170 Born in Montpellier France 1969 Lives and works in Paris France EDUCATION DNSEP Ecole Nationale d arts de Cergy Pontoise France 1994 DNAP Ecole Nationale des Beaux Arts de Grenoble France 1992 SOLO EXHIBITIONS 2013 Le Grand Elastique curated by Julien Fronsacq Palais de Tokyo Paris France Continuum Meessen De Clerca Brussels Belgium 2012 Substrat Centre international d art et du paysage lle de Vassivi re France Atlas Ellipticalis Schleicher Lange Berlin Germany 2010 The Catalyst Meessen De Clercq Brussels Belgium L Hypocentre Schleicher Lange Paris France Caesium curated by Marianne Lanav re La Remise Kunstverein Braunschweig Germany 2009 L adorable Leurre cu
18. ate t om 5 Meuse a o e y E pear posla x Lok tes M the TRE sta 4 amp amp 4 wo a L A H Y HAN r x m Edo re rip TEE od a ss S ee Xi CE de din sob m hom d NAT la Le t a 1729 E uL Pa I JS a J s s ad 4 uut a eh OT d s ah 35 ts et Hu nu vis vis ra ee at a Le 1 d kn a Tow Lt L E An Ba a nt ENTE ili 16 ai Phrase ss did vin Pie violis See 2 CL oo sia pd 1 ma mom om fe d i 4 M E FE Eee dd eae te g ince UB a oc c X PR T MET UL es eR S n T 73 oa S Ws hs v ete B wi 4 epu H yw REI RE NEC ra SEN Yr ERE NT Biere an E DR a te el 0 45 44 y E LR Eh FA hed hey ey Eyre ke Papa swiss 1 41 i ated ET k mas mp 4 PEU z E amp B8 me x oe Ten ER ar Er re ws m D asc eel Xj ena L FA k fle i Y a Haw 2 APRES CR m nos Eder ale pale PE An
19. bad nm ie on Ws v aR b E a s a a i P LLL 7 a 4 4 sia w L T a h la E F E f r m y a d Fh c B aie m Eg Tr 86 Cerveau 2010 Pyrite mosaic fragment from Pompeii 130 x 50 x 50 cm with plinth Cerveau Brain could reduce the human phenomenon to a Cartesian mechanism Richer has attempted to fashion a cube weighing 1 3 Kg the average weight of the human brain out of pyrites a mineral with a naturally cubic form This reconstructed cube contains a piece of mosaic from Pompeii Like a repressed memory this element introduces mathematics of a spiritual order by exposing the geometrical beauty of the matter and of the memory that constitutes us 88 Medeorite 2008 Six sided meteorite engraved like a dice 3 x 2 5 x 2 cm As the collision between meteorite and dice d in French Medeorite is a small siderite type meteorite whose sides have been stamped like those of a standard dice Held in place by a magnet hidden in the wall it seems to be floating weightlessly as if halted in mid fall by some supernatural force bent on foiling an earthwards trajectory begun light years ago somewhere in outer space While its character is perfectly understood this fragment of extraterrestrial debris nonetheless crystallises various fears and fantasies that mix scientific truth local superstitions and literary or cinema
20. m Po oa nn nn pex qure En EID Te 1 RDV me Fate Pee rx T Ea d qr uve us 214 ko diee rr paires Fd Pers fen tm Vds aeaea CE ELI Fe 3 4 deferente erus mile e eom done e d 4 i d wa LES ELTE PERLUNI ae NIE A Fars era 2 wa Fr dI MES E r o 70 8 2 o 4 4 e ol oa m M i E aad an umm Tied 4 4747 mae te Lucr k d acess er iat a lt dab ak iade m P 5 m MILOU E E L ne we r or uL E rin EY 3 E V FA Fi ae ion Sene ene aae Ics EY e 14 Le te TE RENE ns Mats T i i ceca lE dr Rh DUI dy Paes URN DRE T Fy te sie WF hed M DU TEE po ems Ca i F Si be nee FEE PARR A E ax ae a e 2 gt Er d 4 ele parue ILE Hy j one L vote BU NE se an 957 RT adalah REE NV 4 P E A ok GEO pris is mot i i HP er E Lu ped EE FON al i gt 8 1 Me RENE
21. ow m Amr i y oe a af E _ RO ait ERE LR pals bia are ere 1 25 Rer pane ck LT F v avale C on a ons REC ERIS A EAU Lx Fd EV EA a eu IE TT Bic ae s ks 03 5 m af m ma Ue u mt r T is a E e a ete ae 2 oe ae sfa a a m a P 7 le e EUER MSAN LAN FE r uy sf o e at 3 BEP 12 As d e NU S 1 4 8 a hd 5 a a y fu a at af 3 h C 1 1 P b a B Bom i Nc s A a a et 5 EN C Y j as pi 2 B a hs mr m F E c es m n DAE Ted ee ER ats sts Y a xw T E DX EU rcg A m Fa pts oae i dedi HU SU TS amp oct LL PL EE oe amp a a Wl a ss a 4 y 5x re er oes T Bees p o73 3 cs B m Boma w y 75 ss E c T Pn s s 4 R 4 PE h 4 4 ETE xa 2 m nm d A r pr 4 Pere foe
22. son aua 8 64 La Gr le 2012 100 cyanotypes glued on cardboard of 1 m x 1 m Variable dimensions Inventory of hailstones pictures listed on Internet and developed with the cyanotype process an old photographic technique producing images in blue dominant ae p um ee us mr M m m T I das o i doo rca ln on ran gt 1 MEI a lus ea j ay ees bee ee ee eee ee ee ee et d 66 Cumul pluviom trique 1 Forte instabilit sur les Antilles et la Guyane Le 20 06 2006 2006 Watercolour on paper 123 x 346 cm This series of large format watercolours reproduces world total rainfall maps as published in the weather pages of the French daily Le Monde As each map indicates the daily weather conditions the corresponding watercolour must be executed the same day in order to match what is an ephemeral situation With only the modelling of the total rainfall actually transcribed the paintings are stripped of all geographical indications the result being an abstract camouflage through which the viewer can descry an allusive but nonetheless identifiable topography Almost like a photograph being developed the map emerges out of a kind of coloured mist breaking the landscape up into myriad atolls and islets and suggesting a planisphere marked out with the regions of heaviest rainfall At
23. sujet en or pour les cr ateurs text by Roxana Azimi published by Le Monde 7 7 2008 L espace d un instant text by Jean Max Colard published by Les Inrockuptibles 2008 Evariste Richer in der Galerie Schleicher Lange text by Jens Emil Sennewald published by Kunst Bulletin 2 2008 2007 Ouvrir Oeil published by Mouvement 12 2007 Parole d artiste Evariste Richer Ce qui est compliqu c est de parler clairement d art text by Fr d ric Bonnet published by Le Journal des Arts 10 2007 Focus Quand le fil rouge est bleue text by Sean James Rose published by Lib ration 14 6 2007 Be an artiste emergent emergentry text by Patrice Joly published by BC 2007 p 66 L le de Morel Time out of joint published by Art 21 N 11 summer 2007 p 64 66 Antonioni s Gaze text by Lupe Nunez Fernandez published by Flashart 10 2007 2006 Fabriques du sublime text by Anne Bonnin published by Zero2 N 36 2006 Premier Jour text by Yann Chataign published by Zero2 3 2006 Oeuvres de genese text by Sean James Rose published by Lib ration 25 6 2006 2005 Principe d Incertitude text by St phane Delano published by Double 2005 176
24. the same time the patches of paint retain their evocative power hinting at micro dramas way reminiscent of Rorschach tests Contemplation cube 2010 Plexi cube with particles of cinema screen 50 x 50 x 50 cm Plexiglass cube filled with remnants of screens recycled from a cinema projection screen factory The screens have been perforated with thousands of one mm diameter holes per square meter in order to allow the soundtrack through 70 Masque a faire tomber la neige 1 2010 Calcite 37 x 31 cm Masque faire tomber la neige Mask to cause snowfall brings together the complexity of natural phenomena and the ritual function of masks 72 Masque a faire tomber la neige 2 2010 Calcite 33 x 27 cm 74 Nuages au iodure d argent 2007 7 daguerreotypes 6 x 9 cm each In 1839 Louis Jacques Mand Daguerre patented a non negative photographic process providing an image directly on a copper plate coated with polished silver Preparation of the plate depended on a chemical reaction obtained by exposing the silver to iodine vapour the resultant silver iodide then became photosensitive Made in precisely this way the seven daguerreotypes of Nuages au iodure d argent Silver Iodide Clouds offer a further echo of the technique developed by Daguerre for these photographs of the sky show us clouds which have themselves been seeded with silver iodide Thus cloud seeding being a method used by some far
25. 010 Galerienaustausch Berlin Paris 2 Forscher im Kunstschnee text by Astrid Mania and Dominikus Muller published by Artnet 21 1 2010 Evariste Richer l Hypocentre text by Moira Dalant published by paris art com 6 2010 2009 Slow Snow monographic catalogue texts by Marie Cantos B atrice Josse Marianne Lanav re Pascal Rousseau Chris Sharp Julien Fronsacq copublished by La Galerie Centre d art contemporain de Noisy le Sec 49 Nord 6 Est Fonds r gional d art contemporain de Lorraine and Schleicher Lange Paris Edition B42 2009 From the corner of the eye text by Emmanuelle Lequeux published by Le Monde 2 3 2009 Au dela du perceptif published by Le Journal des Arts n 297 3 2009 REPORTA GE ENQUETE Complex et l g re illusion Evariste Richer expose au Transpaltete text by Pascaline Vall e published by Mouvement net 17 11 2009 Spy Numbers furtifs jusqu l vanescence text by Emmanuelle Lequeux published by Le Monde 27 8 2009 Evariste Richer La Retine catalogue essay in Plein Soleil D C A text by Marianne Lanavere published by Analogues Arles France p 192 195 198 199 2008 Evariste Richer French Connection 88 artistes contemporains 88 critiques d art exhibition catalogue text by Julien Fronsacq published by Blackjack Editions Paris France p 616 623 Les Materiaux du possible text by Anne Bonnin published by Zero2 N 48 winter 2008 Evariste Richer catalogue essay in Lan
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28. COWERER 101 GATY B GEMINI 8 COSMOS 112 IMPROVE SAMOS 26 NAL CN E COSMOS 113 FROTON 4 2 TRANSIT Q 8 IMOLNITA 1 A JUI BFF 28 OV 1 4 OVS BORE P 35 15 LUMA 10 COSMOS 114 DISCOVERER 102 MODEL 2 CENTAUR 20 QAO 1 IMPROVE SAMOS 27 COSMOS 115 OV 3 1 MOLNIYA 1 2 COSMOS 118 DIECOVERER 103 COSMOS 117 COSMOS IMPROVE SAMOS 28 HITCHHIKER 11 NIMBUS 2 COSMOS ZEMIT 4 GATY D COSMOS OGCH UOT TRANSIT 0 9 DIECOVERER 104 COSMOS 119 EXFLOAEN 22 SURVEYOR 1 ATDA ATLAS GEMINI IMPROVE SAMOS 79 AAS CO 2 CORMOS 120 IMPROVE MIDAS 1 SECON ERS 18 Oy 3 4 Ir 1 IDSCP 1 2 1 iDScP 4 A L il du perroquet 2008 Modified artificial horizon motor variator 10 x 10 x 28 cm L il du perroquet The Eye of the Parrot is an artificial horizon built into the wall of the exhibition space just as it is usually fitted into an aeroplane s instrument panel This device which allows the pilot to control the pitch and roll of the plane by measuring its tilt appears here stripped of all bearings and graduations Using the standard colour code it shows a stylised almost abstract landscape in which the blue hemisphere represents the sky the brown hemisphere the earth and the white line the horizon However it lacks the gyroscope that enables stabilisation of the ball which here turns endlessly on itself Sky and earth succeed each other as if the crazed i
29. FERRET amp IMPROVE SAMIS 9 HITCHHIK TA 5 DISCOVERER 78 ELECTRON 3 ELECTRON 4 COSMOS 25 VELA FA VELA 2 8 ERS 13 RANGER 7 COSMOS 34 DISCLPVERER 73 COSMOS J IMPROVE GALS 10 ATT CHHIKER 4 COSMOS 15 COAG COSMOS 40 dr ne GEW E R EA 80 G TARPLAGH 18 EXPLORER 74 fei 1 Cyn M ato d4 HRANA TAGE Cu FERNER a eA 81 BATU 7 rR LAMA 11 HE dial 17 10 1963 17 10 TI TA 10 1953 10 19534 25 10 19653 10 1963 Fe 16 1953 01 11 1963 C 11 1963 Ti 11 1963 16 11 1963 27 11 1963 27 11 1963 11 1862 2A 1363 12 1987 05 2 x 13 12 136 12 1963 19 12 19653 12 1963 21 12 21 12 1963 21 12 1101 1964 11017 1324 1101 1964 11 01 THE 19 01 THEA 19454 21 01 IS 01 TELA 29 07 THA 01 20 01 28 01 THA TS 02 1964 THH 2 19564 21 02 za 02 THA 11 03 1964 18 01 1964 TS OF 1964 21 03 1964 24 1064 24 09 THA 27 02 27 07 Dri THA 58 12 1964 20 27 71 04 19264 22 1964 F 1 1964 a 1964 18 05 1964 19 05 1964 Fr 114 06 1964 3 7 P 2 7 04 064 1964 10 06 12 06 1964 13 04 1964 04 1964 18 06 1964 19 06 i FT Ti 20 0 Ol 07 tia 02 07 DEL DS 07 THA 19 07 1 07 11 07 1084 15 07 10424 17 07 1964 17 07 1084 17 07
30. MSSNDCLRCQ_ Meessen De Clercq Abdijstraat 2a Rue de l Abbaye B 1000 Brussels Belgium tel 32 2 644 34 54 www meessendeclercq com info meessendeclercq be SCHLEICHER LANGE Schleicher Lange Markgrafenstrasse 68 D 10969 Berlin Germany tel 49 30 955 92 917 www schleicherlange com info schleicherlange com EVARISTE RICHER Selected works 2003 2013 Evariste Richer s agenda is rooted in the notions of matter space and time together with the different conceptions of reality they give rise to Working in a scientific exploratory mode he challenges our systems of measurement and our perceptual and spatial conventions The exhibition venue becomes a terrain for experiment for this artist surveyor who makes systematic use of the inventory and the grid as approaches to an exhaustive treatment of his subjects Richer notably comes up with interpretations of such natural phenomena as the aurora borealis the green flash the hail storms or the rise of the level of seas etc some of the directly observable and others of a mythical nature In their relationship with the universe his works perturb the perception of a viewer caught between microcosm and macrocosm INDEX Selected works 2003 2013 172 Biography 175 Bibliography Le M tre Lunaire 2012 Engraved copper 27 27 x 1 x 1 cm The lunar meter has been calculated according to the methods of Delambre and Mechain s system to define the standard meter in 1792
31. Miroir noir concave Miroir noir convexe 2012 Black painted glass oak frame 64 x 47 x 5 5 cm each The black mirror or Claude s Mirror from the name of the painter Claude Lorrain 1602 1692 was a small portable mirror which the landscape painters used to reduce and simplify the tones of the subject 110 La Nuit 2009 Belgian Black marble Perkins Brailler typewriter cover wooden pedestal 120 x 55 x 43 cm sculpture and pedestal As the visitor contemplates La Nuit he she is immersed into a questioning aroused by the unlikely encounter between a block of black Belgian marble and a Braille typewriter cover It is somewhat paradoxical to enter that world through the darkness of night 112 Democrite Aristarque 2009 Lightjet print 170 x 125 cm each The diptych Democrite Aristarque consists of two photographs created in three steps The artist first made two photocopies using the only photocopier in the Meudon astronomy Observatory s Library one photocopy with the top open and the other with the top down These pages depict air the dark image and the lid of the machine the white image As such the artist has recorded the surrounding atmosphere in a nod to Marcel Duchamp s air de Paris 1949 and he has picked up the marks of wear and tear left on this machine that has borne witness to the passage of space s most advanced theories doubts and questions The two images were then scanned witho
32. OF D 1 TRI Gu CM FT 76 04 132 FE DE T 79 04 25 15 05 FL 2405 TE zu CCS 06 Ti mz 26 07 TE 17 hz 18 06 TE 19 0 Fa 06 20 06 TET 1007 74 07 21107 212 07 07 TET Fe 07 TRE 05 08 19637 net hz TET LUI 1362 11 08 1947 75 08 27 13947 217 TNT 10 0 THI 17 1947 17 TE 27 3 03 tM 79 1967 19 TM az 10 71 01 10 10 1962 18 10 20 TO TZ 2 10 THE I5 10 26 10 1982 17 TT 10 1987 OT 11 19002 17 1962 os 11 1987 17 17 1947 11 11 TT 2 11 192 TZ TNT 12 7i 12 12 13967 11 12 12 12 tei 1212 TO 12 12 2 15872 17 TF 17 11 i L TR 17 TT r 12 Tie 01 67 091 s 18 01 0307 7 02 62 re 62 UB 3 79453 E Ti 21 02 04 4 i 1943 06 04 65 54 1340 t G el 25 4 t 28 04 TM 2 07 09 om TML ob O5 PEEL T LE Ar or LT 1907 15 FE ug LE HE E RB 0r E m oi NI oe 12 E FE 3 ES FL E CENTAUR 46 3 COSMOS
33. accumulation its character as one of the classical forms of memorial and the stripped down sobriety of the evocatively named Univers 65 typeface all highlighting the work s plasticity A monument to defunct machines Principe d incertitude Uncertainty Principle calls on the viewer to remember these satellites individually and collectively while at the same time it homes in on the fragility of scientific knowledge and on the conquest of space as symptomatic of a certain hubris Taken from the quantum physics principle formulated in 1927 by German Nobel Prize winner Werner Karl Heisenberg 1901 1976 the title refers to the irreducible imprecision of certain scientific calculations due notably to the impossibility of establishing simultaneously the speed and the position of a given particle In a universe in a state of constant expansion we are abruptly confronted here with the nebulousness of distance 80 Maw EU ELA Seer 1 RER i RE uns d Se ERLE 1i le DE 1 uec mr le a FERES L4 DAS i wi STO 3 Ewe TIN 1 FAITH 7 ur uer Wl APO cori COSS 17 COSMOS 1 FU Ll o Cat 3 DEREN ba LELAS I FFE 7 E IT TET 1517 1 22 11 TFI 11 11 12 2 T 12 1 2112 1 22 12 F 2 01 FIEL T TOT 22 02 To Gr Te 71 02 IE or i
34. ce meaning the gap in the speech The spectator finds himself on the other side of the mirror in exact opposite from his point of view on the universe This inversion led empirically an abstract dizziness due to the sudden estrangement in several thousand years light of the ground This work is reminiscent of Gerard Richter s atlas which had impressed Richer during its presentation in Documenta 10 1997 and John Cage s symphonies consisted from the constellations of Becv r Liking to interfere its own atmospheric references in the art history Richer contributes here to confirm the spectral character of the night sky vault of heaven Measuring the world Richer reveals in the eyes of the spectator the strange and violent beauty through enigmatic natural phenomena 118 Stella Inferno 2009 5 Poles 440 x 440 cm Stella Inferno consists of a 440 cm tall star constructed from five vaulting poles that stands upright in the exhibition space While on the one hand being a tribute to Dante s Devine Comedy in which each of the three acts end on the word star this fragile sculpture also refers to the human urge to push the boundaries of our confined space 120 La Foudre 2009 White blind stick 145 m Lightning La Foudre which crosses the stairwell vertically is a blind person s cane 14 metres long evokes a flash of lightning and brings together opposite visual phenomena maximum illumination and blindness
35. cess that reproduces the gap between the eyes Unless seen through special corrective glasses this type of image remains a vibrant geometrical grid a graphic labyrinth in which the eye becomes lost Our disorientation in observing the Milky Way is made complete by a semicircular presentation like that of a film studio cyclorama This system of cartography of the heavens which started in a very precise way from the 1950s onward enabled Man to situate himself in relation to the immensity of the universe and ponder the intimate relationship that the stars have between themselves within our solar system Intimacy is also what is within and secret is the Earth not immersed within a huge system that still keeps all its secrets 144 Planisphere 2006 Watercolour paper crude oil 150 x 220 cm A quick glance and we ve made the connection between this deformed grid and a map of the world or to be more precise Mercator s projection that widely used technique for depicting the Earth on a flat surface Planisphere like Cumul pluviometrique Total Rainfall takes advantage of this convention to create an immediately identifiable abstract image curving outwards and inwards like parallels and meridians the vertical and horizontal lines undergo the East West North South stretchings that ineluctably model the roundness of the globe But given the absence of any geographical indicators the geocentric pretensions of this depiction are refuted th
36. dires T hid eed MEET 1 4 a 3 E ANA s Fra ELO LL CAS PONENS Pontes mm ny sante x CCo Rous LAS Tas NL MRNA AA A RS tee A PLAT Bh LESS a th PON T TR ln AAA a ES c aha ur EELEE a om ALAS AUN uA RC ILEA 5 4 MCA TANN TE MP vs AREA E E t e ax LI LEER ee z MAUS E RER ACE I TER LU ER atate RE ele 2 aal i al a i i a erf ir j ut C AN ALLER ANT RN 5 ET Aj LETT 4 a nm 5 u UR UR mom mor SS PETS Ho N S d MR Avalanche CIAP Vassivi re 2012 60 Avalanche 2012 Approximately 45 000 dice 500 x 300 x 1 6 cm The work Avalanche was shown in Vassivi re and then at Art Basel in the Parcours section in June 2013 It consists of approximately 45 000 dice placed on the ground seemingly placed at random yet in a very precise arrangement reproducing an image of an avalanche the six sides of the dice correspond to the six shad
37. dscope text by Julien Fronsacq 2008 L Oeil pour l Oeil apr s le Romantisme Evariste Richer explore L Oeil Moteur Tiens text by Marie Mertens published by L Oeil winter 2008 Fabricateurs d espace text by Jens Emil Sennewald published by Kunst Bulletin 12 2008 de realite Abstraction Fete text by Eva Prouteau published by Zero2 6 2008 p 64 At the galleries Evariste Richer text by Joanna Fiduccia published by Flashart 3 2008 Galerie Schleicher Lange Evariste Richer text by Pierre Emmanuel Nyeborg published by Tetu 3 2008 Evariste Richer 3 millimetre par an text by Julia Peker published by paris art com 2 2008 Evariste Richer Cin ma 2006 catalogue essay in Neutre Intense text by Julien Fronsacq published by Maison Populaire Montreuil France 2008 p 84 87 Le neutre comme operation foreword by Christophe Gallois in Neutre Intense published by Maison Populaire Montreuil France 2008 p 14 15 p 24 Espaces gravitationnels text by B n dicte Ramade published by Zero2 12 2008 Fabricateurs d Espaces text by Alexandra Fau published by Archistorm n 34 2008 Evariste Richer Interview with Marie Mertens published by Technikart 10 2008 Spy Numbers Sciences et Vies 2008 Carte Blanche Evariste Richer published by Mouvement n 48 2008 Ces etranges sculptures qui font bouger les murs text by Emmanuelle Lequeux published by Le Monde 26 12 2008 MARCHE DE L ART L argent un
38. e an empty square a gap that indexes the entire piece Despite the self evident character of what he observes here the viewer is troubled by a discrepancy the two pieces seem to cover the same area and adding up the areas of the components gives the same result whereas one of them has had a piece taken out and so cannot possibly have the same area as the other This abstract fresco is Evariste Richer s response to the famous geometrical riddle of Plato s Cursed Triangle close observation reveals that in each figure the permutation of the two triangular pieces slightly modifies the measurement of the two acute angles and consequently the slope of the hypotenuse the resultant empty area thus compensates for the difference in the slope However geometrical resolution of this optical illusion in no way undermines the fascination enigmas and other games of logical hold for us Here retinal reality gives way to the cold beauty of mathematical reasoning leading the viewer to think more broadly about the appearances of the world around him 160 Les Triangul s 2012 88 linen canvas stretchers Variable measures Each triangle s measures take up those of the triangulation system made by Delambre and Mechain along the meridian line from Dunkirk to Barcelona from 1792 with the aim of defining the universal meter 162 Black Balance 2004 Spirite level crude oil 5 5 x 40 x 2 cm Black Balance is an assisted readymad
39. e North could be where we habitually situate the South and the antipodes at the centre of the map Drawn with crude oil instead of ink the drawing stands almost heliographically revealed as when Nic phore Ni pce used Judean bitumen in the very beginnings of photography Latitudes and longitudes crisscross the world with a vast network of pipelines as if fossil energy alone were underpinning its organization What emerges is geopolitical system of interpretation that exhausts the content of the map Like the archeologist s squaring this reading of the site via Evariste Richer s recurrent grid pattern calls on us to dig burrow search but without dispelling the retinal persistence of this image of the world 146 YA k4 tii HALTET Val wf dP Sismogrammes 2010 Pigment print 52 x 68 cm each The French national newspaper Le Monde is transfigured in the piece Sismogrammes 2010 Seismogram The name of this daily newspaper could be deemed to describe by metonymy part for the whole the planetary scale that the artist draws upon in his work This series is made up of photographic prints of both sides of pages from a March edition of Le Monde with a belated somewhat off the beat announcement of the Chilean earthquake of 27 February 2010 The artist has discarded all the information leaving only its framework Le Monde macul Le Monde immacul 2004 Copy of the newspaper Le Monde and pli
40. e whose two tubular capsules have been filled with crude oil instead of the usual yellow tinted ethanol The brown viscous liquid clings to the capsule walls moving sluggishly when the level is tilted in search of its point of balance this renders the bubbles less skittish more stable but at the same time getting the level right is hampered by the dark oil which obscures the black indicator marks Black Balance then or the oil industry as the gauge of the forces at work in so many of the world s conflicts However the allusion to the geopolitical role of black gold is only implicit what dominates here is the geological reference so pervasive in the Richer oeuvre as almost to provide by analogy a basis for interpretation This work can also be related to Planisph re in which the crude oil used to draw the lines of longitude and latitude is from the same source Angola Indeed oil the outcome of a millennial process of sedimentation and breakdown of organic matter perfectly embodies the quasi geological logic underpinning the artists work which functions in closely imbricated layers of meaning 164 Fulgurite 2008 Fulgurite neon tube 6 x 150 cm Fulgurites from the Latin fulgur lightning are tubular pieces of glass created by lightning strikes in the desert When the lightning hits the ground sand and rock are melted by the heat and form a natural near opaque glass shot through with impurities The fasc
41. er wire 20 x 25 cm Eight thousand eight hundred and forty nine metres of copper wire a length equivalent to the height of the world s tallest mountain Everest then is a concrete representation of an abstract datum Here Evariste Richer continues with his poetics of calibration in a quasi Romantic attempt to apprehend reality in both its physical and mental plenitude To do so he has resorted to a metonymic process which reduces the Himalayan peak to the simple physical embodiment of its height Although this remarkable item sums up the mountain s uniqueness in doing so it reduces it to a mere reel of wire an allusive and perhaps disappointing landscape far removed from the sensation of vertigo and the conquest fantasies the name Everest inevitably calls up The mountain that iconic vector of the sublime in all its wild beauty and limitless panoramas has been tamed and wound solidly around its reel At the same time the conductive copper wire becomes a powerful dynamo its centripetal movement generating a powerful electromagnetic charge 54 aw i T ipud M M EE a r E Vel i L Insondable 2012 Avalanche carbon probe 23 m An avalanche probe an instrument usually used to measure the depth of snow explores the height of the exhibition area where the graduation of The Unfathomable is activated While the probe is normal
42. es of grey in the photo of an avalanche chosen by the artist 1 being almost white 6 being almost black They are placed side by side without being glued to each other or to the ground which gives a sense of fragility to the whole work as it is at risk of being shattered by some clumsy foot The artist sensitive to the notion of chance its triggering its consequences is proposing here a work that can be read in many ways Games of chance have roots in all cultures in every era Using the dice as the base material the gaming accessory par excellence Richer perfectly combines object and subject An avalanche is a contingent phenomenon and its triggering is subject to many factors that seem to be as much a matter of chance as a roll of the dice One thinks here of course the poem by Mallarm and his famous phrase A roll of the dice will never abolish chance but in a natural link of the eponymous work of Marcel Broodthaers One can also legitimately allude to the major work Un Eins One by Robert Filliou consisting of thousands of dice of different sizes and colours all marked with a single 1 and thrown randomly on the floor However the work of Richer is very different the dice have come straight from the factory and are positioned one by one in a methodical sequence with the patience of a monk The effect of cloud like vibration is conferred by the cumulative mass of the dice we cannot not detect an actual epicenter giving it haz
43. gle at which it becomes visible as a positive 76 Energie cin tique 2005 Laser prints on paper 27 x 38 5 cm each First presented as part of the Fabriques du sublime 2005 exhibition at La Galerie Contemporary Art Centre in Noisy le Sec Energie cin tique Kinetic Energy was shown along with the series Nuages l iodure d argent Silver Iodide Clouds both works draw on a technique aimed at reducing the disastrous consequences of hailstorms for farmers Here an all over assemblage of A3 sheets glued edge to edge and covering an entire wall portrays hailstone impacts in increasing order of magnitude Io assess the effect of their cloud seeding method on the weather scientists and farmers place hailometers sheets of extruded polystyrene outdoors after a hailstorm the sheets are inked over and paper prints taken off them which indicate the intensity of the storm By methodically classifying these prints Richer pursues and amplifies the scientific approach A source of astonishing constellations on a reduced scale Energie cin tique above all provides a cosmic vision as if homing in on an increasingly dense drawing of a Milky Way This work offers a kind of meteorological mapping that reminds us of the Cumuls pluviometriques Total Rainfall series the precipitations recorded in the latter reference the cycles of the universe the physical forces governing them and the type of energy mentioned in the title and out of th
44. ies Initially part of the 2008 exhibition 3 Millimetres par an at schleicher lange gallery in Paris it faced M d orite a six sided meteorite with dice like holes set on a wall at the same height The formal dialogue that sprang up between the two works set the viewer under the Damoclean sword of a fall at once ever imminent and endlessly postponed It is through this suggestion of a black hailstone as a form of foreboding that the artist subtly distils a literary Biblical recollection of cosmic catastrophes 94 Meteorologie 2006 set of 54 silkscreen prints 96 Dos de carte a jouer 2010 Rotring on paper set of 32 pieces 9 x 6 cm each 38 JE T 98 L Horloge 2012 Merry go round tray diameter 750 cm L Horloge is a tray of merry go round devoid of its motor subjects and big top and placed vertically looks like a fossil sunk in the nave of the Vassiviere Art centre 100 Ellipse Eclipse 2007 Reflectors made of reversible glod and silver Lastolite aluminium frames Matthews tripods diameter 300 cm each Ellipse Eclipse comprises two reflectors like the ones photographers use to modulate lighting colour and intensity Here they are set on those Matthews stands known to everybody in the film making business Their reversible fabric gold on one side silver on the other enables not only the diffusing and directing of natural or artificial light but also its warming or cooling
45. ination of this rare phenomenon lies in its lightning fast duplication of the slow process of fossilisation in the way it so to speak speeds up geological time These petrified lightning bolts these imprints of the heavens seem like vain attempts to bring the sky to earth and to leave an implicit trace of its passing By inserting a fluorescent tube into a fulgurite the artist recreates a natural event which he then suspends in space and time with the lightning bolt traversing ad vitam aeternam the glass it is in the process of blowing In an authentic visual oxymoron it lights up the fossil with its cold glow transforming it into a vivid blue incandescence Unlike the Rayon vert Green Ray which this luminous horizon cannot fail to remind us of Fulgurite sets out to ward off the ephemeral rather than present it Nonetheless both works embody the same paradox the combination of demiurgic impulse and material process 166 Caesium Shoes 2010 Caesium Blundstone shoes 20 x 25 x 32 cm Space and time are two fundamental concepts that pervade Richer s work Caesium Shoes for example illustrates travel whether literal a pair of shoes celestial constellation of paint spots as residual traces of the studio or temporal presence underneath the sole of a capsule of caesium the metal used by scientists to define time the second with the utmost precision 168 Le M tre vierge 2004 Metal plastic and paint 7 5 x 6
46. itle is the Latin name of the anvil headed cumulonimbus a dense black cloud that produces violent crop destroying hailstorms farmers attempt to prevent with silver iodide seeding a practice the artist also references in nergie cin tique Kinetic Energy and Nuages au iodure d argent Silver Iodide Clouds In Evariste Richer s work the dice that molecule of randomness is often associated with meteors Symbols of contingency gambling and meteorology are associated here with the fragility of a structure a single breath could bring down 22 Le Gr lon noir 2008 Motor variator dice 2 2 x 2 2 x 2 2 cm Le Grelon noir The Black Hailstone can be seen as a dark pendant to the whiteness of Le Grelon The Hailstone It comprises a black dice set high up on a wall and set spinning by an invisible motor its sheer speed generating an illusion of inversed rotation and surrounding the dice with a dark aura like halo Whence the work s poetic side the discrepancy between the utter simplicity of the system and the beauty that results Like its white counterpart this black hailstone revolves indefinitely depriving chance of its role in the throw of the dice In its continuous movement and its reference to things meteorological this object so small and banal as to be almost insignificant symbolises the implacable cycle of the universe while taking on the power of fascination and prediction associated with the heavenly bod
47. ly intended for getting information about snow depths the architecture probed in this way provides an index to the variable and invisible spaces of avalanches The point of the probe has been turned toward the immensity of the sky and not toward the depths of the earth in a tipping movement of the world 56 T L Dim Rag tere mid hii oj qe orm ad reme P n Mn ML aL Le Y mcs VA ART tae tale am r e r 55 Ma RAAS ied cie situe Fol d diis IT P LN E AMT I a AR LR T etn e Las d A F 2 Pa zr a a nd re oes E A E SM Ls APPARUE i Pa al eh br EAR ARE T P P zu Faut EU AT A z PL A Tee Miels li X fet n niic p nn MM X he 4 55 er 52 Kama LS E e Bi hy Kalk lI A 346 D ANSA AUS SUN XXE rie a ANN ari AM ent a a aren r r ANON US 4 ERRENA AR R a m hh QAAE ACHR ES CODE EE Sah E Fi A XX AAA NUR x VER S URS PR EE m ehe t
48. mbines the visual effect of a camera obscura with a temporal inversion for the Aiguille du Midi the hand pointing to midday has been turned through 180 and now points to six o clock like a stopped watch Like La Glotte de Platon Plato s Glottis and its reflection that turns stalactites into stalagmites La Montagne momentarily freezes time creating a dramatic tension out of a seeming plunge into the void and an avalanche being held back Like Everest a reel of copper wire whose length is equivalent to its nominal subject s height La Montagne deconstructs a romantic notion which crystallises endless fantasies of conquest and inspires the sentiment of the sublime Here the artist stands clich s on their heads both literally and figuratively At the same time the work s influence on the viewer s physical perception turns the world upside down making it into a space in which all gravity seems abolished 48 South Face North Face 2010 Lambda print 231 x 156 cm each With South Face North Face physical phenomena are tackled such as the loss or retention of heat These two large photos of a survival blanket when spread out like maps question notions of symmetry and opposite 50 52 a T PNC SS d man ee N SS A nr D ovr hr 7 i 1 NA ES 2 E 4 l Everest 2006 Reel of 8 849 meters of copp
49. me which dwarfs Man can be seen in the cross section of a meteorite that the artist holds in his hand like a painter s palette La Palette du Diable By holding this specimen found in 1836 in Namibia in this way Richer offers a fine metaphor for the artist as a key figure complementing the work of the scientist who struggles to explain the world 30 Les Micachromes CIAP Vassiviere 2012 32 Les Micachromes 2012 Series of 11 photographs Cibachrome 172 x 123 cm each framed Les Micachromes consists of 11 enlargements of mica sheets Fascinated by the transparent quality of this rock the artist has used each sheet as positive so there is no actual film and enlarged it onto Cibachrome paper a technique threatened with extinction Having played a significant role in the development of life on earth mica is seen here in its intimacy It reveals a natural structure that recalls a formal analogy with gestural art whether the oriental or Western variant 34 36 38 Geological Scale 2009 4 pigment prints on Hahnem hle paper 270 x 110 cm each Geological scale a polyptych representing the geological scale defined by the scientific community looks more like a calendar than a timeline Richer has removed the linguistic information given on the colour chart of the 2008 geological time scale which is a chart developed by the commission for the geological map of the world defining a time line f
50. mers to reduce the size of hailstones the work references a certain scientistic utopia in which nature in this case in the form of hailstorms could be controlled The technique consists in spraying the clouds with silver iodide crystals propelled by a vortex generator Mutatis mutandis these Nuages au iodure d argent are not unlike Energie cin tique Kinetic Energy another work resulting from Evariste Richer s research in the same field However the choice of motif and process is no mere intellectual game of transposition Above all it represents a specific form of imagery that of the mists and skies of the German and English Romantics and this despite the fact that the control of a natural phenomenon by such a process is in direct contradiction with the cult of Nature untamed and hostile It reminds us too of the burgeoning photography of Eadweard Muybridge for whom clouds as a reflection of human emotion were a favourite subject Inherently elusive clouds also embody the passing of time a drawn out time like that of the preparation of the plates and the exposure demanded by the daguerrotype but also of the artist s prior gradual learning of the technique itself Under the Damoclean threat of blur and failure this protracted time frame becomes the viewer s personal experience The daguerrotype never yields itself at first glance scarcely reaching the surface the image seems to hesitate until at last we find the an
51. nniversaire de l art La Galerie Centre d art contemporain Noisy Le Sec France 2006 Precipite Precipitado curated by Joana Neves Galeria Pacos Do Concelho Aveiro Portugal Premier Jour IrmaVepLab Lieu de cr ation contemporaine Chatillon sur Marne France Decouvrir le monde organised by FRAC Lorraine Galerie Lillebonne Nancy France Uchronies et autres fictions curated by B atrice Josse FRAC Lorraine Metz France 2005 Fabriques du Sublime curated by Marianne Lanav re La Galerie Centre d art contemporain Noisy Le Sec France Le principe 4 Incertitude curated by Marianne Lanav re Public Paris France Scape curated by Sandra Patron and Triangle France CAC Center of Contemporary Art Vilnius Lithuania 2004 Detecter Lelabo Paris France Les lumi res de l encyclopedie Station St Germain des Pr s Paris France 2003 22 me Biennale d Alexandria Mus e d Alexandrie Egypt 2002 Mental Shift Gallery Uks Oslo Norway L ami de mon amie Ensa Cergy Pontoise France Group Show Galerie Corentin Hamel Paris France Korean Air France Samzie Space S oul Korea Korean Air France Glassbox Paris France Simulation Abbaye de Maubuisson Saint Ouen l Aumone France Under the rays work in progress sous les Aurores Bor ales with Dove Allouche Eiscat Center Tromso Tromso Norway 2001 Cergy Memory 3 La Vitrine Paris France Hors Jeux GB Agency Galerie amp Paris France 2000 Mode d em
52. nstrument were simulating a dangerously spiralling dive or entry into a gravity free environment Bordering on fusion the colours become overlaid then reappear through the white veil that tends to cover the ball here we have a reference to the obtaining of the colour white by accumulated synthesis of the primary colours At once an eyepiece for observing and an instrument to keep a watchful eye on this work seems to staring back at us with the single fixed round eye of the parrot in Placebo However L Gil du perroquet deliberately fails to settle anywhere 82 84 mea de ZT nn SS T _ e ee eus Rok od breca 4 4 EUR P d x A Boh reba e th d HEE c d E Ro D po o o do hb CR 4 c 9 dh B8 d dla 4 dr B B X veg ARATE RP DIE edi LS LE EE NT A SEA ARE aa WHERE s MOULE RE aa p au PE a 2 1 rh j F a i m 7 eee Ress ELI CELO Er cn EEE ES m uem a m P JR CI EACUS OUS REIS CES Mer Ae NL a ed o dea HEM AB Pag TE NZ ia de rr oie i 4 Marr m T nl a ETT INES A rn Anselm P es n o ss Sai Les i eier lt e om cf im xod Seed ILI eet sh
53. nter of these two assemblages he presents two relics of the terrestrially repressed and the celestially remote a chiasma of rising and falling 20 La Collection de min raux de l abb Ren Just Ha y 2013 134 pigment prints pinned on wood 70 x 80 cm each Mineralogy lists and categorizes different stones These are sometimes recovered from depths of more than three hundred kilometers or come from asteroids The history of this discipline was strongly influenced by Abb Ren Just Ha y 1743 1822 the author of a method of structural analysis aiming to define the mineral species in its entirety the father of crystallography and the assembler of a major collection Cabinets of curiosities were places where measuring instruments antiquities works of art or objects relating to natural history were presented Among the last of these curious minded in the 17th century preferred intermediate objects coral bezoar etc to the traditional categories of the biosphere mineral vegetable etc in order to maintain a continuous representation of the world While Ha y as a collector aimed for insatiable completeness his collection like a mineral constellation in expansion photographed here in its entirety suddenly takes on a frozen appearance These constellations in drawers present a search into a universal which from crystallization to the cosmos is seeking a key to the theoretical geometry of the universe 22
54. nth 38 x 25 x 4 cm Le Monde macul Le Monde Maculate and Le Monde immacul Le Monde Immaculate offer two copies of the Paris daily Le Monde one saturated with ink the other virtually pristine Each thus embodies one extreme of the printing process the former is the result of the inking up process that ensures even distribution of the ink on the rollers while the latter testifies to the cleaning of the rollers once the print run is complete While separate the two are irrevocably linked by their dichotomy like a negative and its positive And while metaphorically suggesting information overkill and the paradoxical emptiness that goes with it their monochrome character also conjures up the history of abstraction each offering a meteorological equivalent in the form of a leaden stormy sky and a snowy mist 150 Les Fonds 2010 Acrylic paint on canvas 365 x 128 cm red 234 x 142 cm blue 230 5 x 190 cm white 194 6 x 130 cm black Les Fonds Backgrounds is made up of four monochrome paintings black blue red and white These four paintings are in fact facsimiles of the backgrounds that Brancusi strategically placed in his studio in order to enhance his sculptures and suspend them in the space 152 i t Slow Snow Day Snow Night Snow 2007 Acrylic on canvas 300 x 200 x 4 cm each Slow Snow uses the underlying principle of the Hermann Grid the famous optical illusion based in par
55. nual Meessen De Clercq Brussels Belgium Abstraction amp Storytelling curated by Joana Neves Marz Galeria Lisbon Portugal Arbeiten aus dem Bleistiftgebiet curated by Gregor Hildebrandt Galerie Van Horn Dusseldorf Germany Pour une republique de reves curated by Gille Tiberghien Crac Alsace Altkirch France The past is a grotesque animal in extenso Clermont Ferrand France Architectures Dessins Utopies curated by Ruxandra Balaci Mnac The National Museum of Contemporary Art Bucharest Romania Aether Nouveau Festival 2nd Edition curated by Christoph Keller and Bernard Blistene Centre Pompidou Paris France Nouvelles du Jour curated by Elvire Bonduelle and Marguerite Pilven Galerie Jtm Paris France 2010 La molecule du territoire curated by Pascal Yonet Le Vent Des Forets Espace rural d art contemporain Fresnes au Mont France Eclats curated by Bettina Klein Mus e de Mineralogie Strasbourg France Light Drifts curated by Eva Lemesle Matthieu Foss Gallery Mumbai India Schleicher Lange at Temporary Gallery Vienna Austria Scavi curated by Simone Menegoi Centre culturel fran ais de Milan Milan Italy Objects are like they appear Meessen De Clercq Brussels Belgium Antiantianti Shapes contexts and rules curated by Nicolas Chardon Log Bergamo Italy America Deserta curated by Sandra Patron and Etienne Bernard Le Parc Saint L ger Centre d art contemporain Pougues les Eaux France
56. or the planet Printed and enlarged the colour charts turn into four panels presenting a sample of graduated colours By deleting all the names of the Earth s geological eras Richer only leaves visible the colour codes CMYK cyan magenta yellow black and renders perceptible the abstraction that is time Central to the artist s concerns is a method of adopting a conceptual approach to colour and painting in the tradition of Gerhard Richter and the colour charts he started in the 1960s Conscious of Marcel Duchamp s case for leaving behind retinal art Richer nonetheless goes against it He induces an optical fascination coupled with a rational meaning The artist thus exhibits the legacy of Op art kinetic art and pattern painting while lending it a space time undercurrent 40 42 La Soustraction 2011 Stalactite metal and motor 109 x 99 x 69 cm This extraordinary and giant stalactite by Evariste Richer requires a closer look The work is placed on a turntable which performs one complete anti clockwise revolution every 24 hours hence the title La Soustraction Substraction The details resemble lace and help us understand the slow calcification of time Installation view at Art Basel Miami Beach 2013 46 La Montagne 2006 Lambda print 120 x 170 cm La Montagne The Mountain is a photographic enlargement of a postcard of the Aiguille du Midi the famous peak in the Mont Blanc The work co
57. ose precipitations emerge the tangible signs of a cosmic immanent language Energie cin tique also recalls August Strindberg s C lestographies 1894 those earth colour images obtained with neither camera nor darkroom Strindberg simply exposed photographic plates to the night sky on a window ledge of his house Interestingly too the process of printing hailstone impacts takes us back to early positive proof photographic techniques set of equivalences comes into play between the starry sky captured on polystyrene sheets and the imprint of hailstones as a projection of the sky s image 78 sieh 4 E T Principe d incertitude 2003 6 enamelled metal plaques typeface Univers 65 white on black background 100 x 100 x 2 5 cm each plaque Listed one after the other on these six enamelled metal plaques are the names and launch dates of all the artificial satellites put into orbit between 5 October 1957 and 18 August 2003 an unlikely inventory and a titanic venture for which the artist had to meticulously cross reference information from space regulation bodies all over the world All in all more than six thousand satellites were launched bearing famous funny or poetic names Sputnik Zeus Cosmos Hitchhiker Donald etc which testify to different cultures eras and even geopolitical power struggles The list takes on a commemorative dimension underscored by the solemnity of the object itself with its enumerative
58. ploi La Peripherie Malakoff France Crack Up Feux Batofar Paris France 174 BIBLIOGRAPHY 2014 Eclat text by Bettina Klein published by CEEAC and Mus e min ralogique de Strasbourg 2012 Evariste Richer Substrat exhibition catalogue text by Jean Marc L vy Leblond published by CIAP Centre international d art et du paysage lle de Vassiviere France Plut t que rien text by Rapha lle Jeune published by Centre d Art de la maison populaire Montreuil France Evariste Richer bei Schleicher Lange published by Zity 8 2012 5 18 4 2012 p 94 Weltraum Evariste Richer published by Zity 8 2012 5 18 4 2012 ZittyLights p 102 Evariste Richer Paris Watchlist published by Artslant com 3 2012 Evariste Richer in Berlin text by Astrid Mania published by Kunstmarkt S ddeutsche Zeitung Nr 71 24 25 3 2012 p 22 201 La Vie Mode d Emploi Life a Users Manual exhibition catalogue published by Meessen De Clercq Brussels Belgium 2011 p 54 57 p 142 2010 Evariste Richer Les outils de la connaissance published by AD Magazine Sep Oct 2010 p 120 Etats d mes du paysage text by B n dicte Ramade published by L Oeil Oct 2010 p 79 83 Evariste Richer catalogue essay in Les Elixirs de Panacee text by Marie Griffay published by Palais B n dectine F camp France 2010 p 68 69 Galerienaustausch Berlin Paris Paris Il Rundgang mit Bugelfalte text by Astrid Mania published by Artnet 4 2 2
59. rated by Damien Sausset Transpalette Bourges France 2008 3 Millimetres par an Schleicher Lange Paris France 2007 La Retine curated by Marianne Lanav re La Galerie Centre d art contemporain Noisy Le Sec France GROUP EXHIBITIONS 2014 Exposition Prix Marcel Duchamp Wilhem Hack Ludwigshafen Germany upcoming Exposition Prix Marcel Duchamp Mus e des Beaux Arts Rouen France upcoming Zodiaco curated by Davide Bertocchi Galleria Car Bologna Italy 2013 De leur temps 4 2010 2013 Regards croises de 100 collectionneurs sur la jeune creation group show organised by ADIAF Centre d Art Le Hangar a Bananes Nantes France A nonspatial continuum in which events occur in apparently irreversible succession from the past through the present to the future Schleicher Lange Berlin Germany Duo presentation with Katrin Sigurdardottir FIAC Paris France Cache derri re les apparences Galerie du 5 me Galeries Lafayette Marseille France Parcours Art Basel curated by Florence Derieux Basel Switzerland Dynamo A Century of light and movement in Art from 1913 2013 curated by Serge Lemoine and Matthieu Poirer Galeries Nationales du Grand Palais Paris France gt Galerie Le Minotaure Paris France Paint it black curated by Xavier Franceschi FRAC Ile de France Le Plateau Paris France La fabrique des possibles FRAC Provence Alpes C te d Azur Marseille France 2012 Les derives de l imaginaire
60. recious stones in these tonalities hemimorphite cobalt calcite sulphur and tourmaline these colours are often found at the edges of photos or proofs but here the artist places them at the edges of our field of perception on the ground according to the order of the printing code or on a shelf a metre from the ground richer models a code on the planets very matter as obtained by sedimentation and via physical and chemical reactions in this way he juxtaposes the immediacy of the image with the slowness of the elements CMYK is an association between the retinal and the rational organisation of the world into categories with a passing allusion to the slow matter of the earth 140 Universal Library Northern Hemisphere 90 50 booth Meessen De Clercq FIAC Paris 2013 142 Universal Library Northern Hemisphere 90 50 2013 Red and blue ballpoint pen on paper 210 x 740 cm Richer s drawing Universal Library Northern Hemisphere 90 50 is 7 4 metres wide by 2 1 metres tall and uses the structure of the first modern photographic atlas the Palomar Observatory Sky Survey Richer takes care to focus his viewpoint on the northern hemisphere and eliminate the stars so as only to show the grid that gives the atlas its structure In addition his drawing has a disturbing quality the work is in two identical slightly out of register overlays one in cyan and the other in magenta using the anaglyphic pro
61. ro a ae MONS P EAE aI LE aia e xar LE ee d PPS zd cH err te j DER E ng ate ou un TA er es P Inn 23 NT ae sis lt Es koe ele A An bet eg mre lt i ed dE 1 ee d see bees m 444 5 she dol 2 BS eer a 1 34 44 ordered LUN mi qo m er amp oj rm mw zh omui la me 2L NS Th LIS M ke nrw es oko Woe 44 9 fast s des V i HE pip my ER SVP Teich sel BEE o IL En wo ges H m t 2 E SOR AUR B d d Jue ala his Fat eu 4 LII fel is dhe eet een ee Peter je aa a ie FRE Se E SEL a RA No c4 d d TRS ER STE r ele ee al diu IU fe CT E PES jon GEL ab 452 443 mor Sok es a EL Ee pera h ae 4 a PE v D o 8 oom n u ies M rs ade 4 3 pee T H WE Hu Roe E ee TA Ne EN a en i nil ay dire a AE md d 4 Gm et 5 6 eu E Me E WIE H PE eh eins a aaa ee ra eoa s se Li i alg an P LH qc e E POOLE eh ela arre wine mood d m a witb w de eee ed T
62. rt contemporain Villeurbanne France Disarming Matter curated by Chris Sharp Dunkers Kulturhus Helsingborg Sweden It s gonna rain dans le cadre du cycle Neutre Intense Centre d art Mira Phalaina Maison Populaire Montreuil France Recent acquisitions FRAC Piemonte Centro culturale Cittadella Italy When a clock is seen from the side it no longer tells the time Galerie Johann Konig Berlin Germany Landscope touring exhibition Galerie Thaddaeus Ropac Paris France Galerie Thaddaeus Ropac Salzburg Austria Unknown Land curated by Anna Johansson Elastic Malm Sweden Recent acquisitions FRAC Piemonte San Marco Church Vercelli Italy De Realite Hangar Bananes Nantes France Joseph Alois Schumpeter Oui Centre d art contemporain Grenoble France dans le cadre du cycle Neutre Intense curated by Christophe Gallois Centre d art Mira Phalaina Maison Populaire Montreuil France Ultramoderne touring exhibition curated by Tiphanie Blanc Yann Chateign and Gyan Panchal Centre d art Passerelle Brest France 2007 Utopomorfias Utopomorphies curated by Joana Neves and Diogo Pimentao Galerie Antonio Henriques Viseu Portugal Raw IrmaVepLab Lieu de cr ation contemporaine Chatillon sur Marne France Feu la sonde Galerie de la Chatre Paris France Lile de Morel curated by Joana Neves Volets1 amp 2 Centre Photographique d ile de France Pontaultcombault France Le million et quarante quatrieme a
63. t 300 x 885 cm overall Misappropriating a process normally used for reproducing architectural drawings through simple contact Evariste Richer has made an imprint of the picture window in his Paris studio The drawing is hence on a one to one scale with its subject From daily sunshine to ultraviolet rays and endowed with graph paper optics the studio would extend the light spectrum to wavelengths invisible to the naked eye and become the observatory of natural phenomena that extend to the point of imperceptibility 106 L Orange 2013 Inkjet print on Baryt paper mounted on aluminum 31 5 x 43 5 cm each L Orange consists of two photos of measuring instruments on a modified scale that form a perfect circle On the one hand one of the buildings of the Jantar Mantar in Jaipur Yantra Mandir the famous astronomical observatory of Jai Singh Il constructed between 1727 and 1733 in Rajasthan India On the other the goniometer preserved in the collections of Abb Ren Just Ha y 1743 1822 at the Mus e d histoire naturelle in Paris The Jantar Mantar is a monumental building dedicated to exploring astronomical depths The goniometer enabled Abb Ha y to confirm his theories concerning the molecular continuity and characteristics of mineral species Two tools that having served respectively to measure celestial mechanics and the angles of mineral geometry link geological scale to the cosmic scale 108
64. t on the law of simultaneous contrast of colours Whether faced with a white grid on a black ground Night Snow or a black grid on a white ground Day Snow we see dark or sparkling light coloured spots at the points where the lines intersect These two large paintings conjure up the history of abstraction from Malevich s Black Square on White Field to Gerhard Richter s Farben Colourcharts pieces and Rosalind Krauss s theorization of the modernist grid Shown leaning one on the other against a wall Day Snow and Night Snow generate an uncertainty that eludes modernist codes and suggests something more akin to Op Art What is to be seen here is not shown and the viewer has to struggle searching for an area of visual repose in which the shimmering will stop The eye sweeps the surface of the canvases hesitating blinking prey to the luminous vibration that gradually coats the two areas with snowflakes a slow now with its roots in paronomasia a play on phonetically similar but semantic unrelated words More than just reference to a meteorological phenomenon Slow Snow is a mise en sc ne of visual scrambling ranging from the mantle of snow that transforms a landscape to the snow on the TV screen ELLET GTT ala LIT 1 1777 1
65. the deep sky that are nonetheless visible to the naked eye these Clouds are in fact paradoxical galaxies The Large Clouds formed from gas and dust and the Small Clouds a matrix of stars were able to be precisely located thanks to advances in the 1920s where telescopes were concerned Evariste Richer has drawn on the negatives of that first modern photographic atlas European Southern Observatory to mingle and invert the two Clouds obscuring any reference point or focus Only two pupils continue to exist and punctuate this nebulous landscape reflecting our gaze as in a mirror 18 Le Grand Elastique 2013 Fragment of kimberlite holding xenoliths Orange Free State South Africa Earth upper mantle 250 km depth and meteorite Tiberrhamine Sahara Algeria 1967 13 5 x 16 x 30 cm Kimberlites derived from geological strata that are more than 2 billion years old came up to the earth s surface rising at speeds of up to 30 km h While meteorites are all derived from extraterrestrial asteroids some primitive ones constitute a memory of what the solar system was like before the planets were formed With the Collection de min raux de l abb Ren Just Ha y Abb Ren Just Ha y s Collection of Minerals and Le Blanc des yeux de Magellan The White of Magellan s Eyes presenting themselves like so many ellipses linking the fragmentary and the exhaustive Evariste Richer attempts to impose a mental flexibility on the infinite At the ce
66. tic references Here humanity can literally put its finger on a fragment of a world of which it can only have a confused notion and can imagine itself interrupting the course of this black star transformed into a dice by the artist so as to set the game going again while postponing its conclusion In the tragic beauty of this sombre splinter of metal brought by chance to the Earth s surface there lies a reminder of the arbitrariness of the accidental and of a violent impact reduced to insignificance by the sheer scale of the cosmos 90 Cumulonimbus Capillatus Incus 2008 8000 dice 2 2 cm each side 76 kg 42 7 x 42 7 x 42 7 cm Sitting on the floor in the exhibition space Cumulonimbus Capillatus Incus immediately reminds you of that familiar Rubik s Cube And a cube it is one made of eight thousand standard playing dice blue red green white and yellow with its size indexed to the weight of the average adult male i e some seventy six kilograms However while its geometric form generates a powerful impression of stability its equilibrium maintained solely by its mass remains precarious Visually the composition comes across as a pixellised image a reflection of the analytical process by which humanity attempts to understand and master the world Its very structure is a metaphorical reference to that Romantic view of the universe in which the microcosm is the exact image of the macrocosm it belongs to The work s t
67. tion is a disruptive element in the time signature 128 Le La 2012 Whale ear bone test tube ceramic brass alcohol burner 50 x 25 x 20 cm The A note is caused by a test tube containing a piece of honeycombed ceramic and warmed The note produced is received by a whale ear bone an echo chamber and sound amplification which generally allows whales to visualize their environment 130 Vacuum gold 2013 Silkscreen print on Olin Antalis paper 300 gr 70 x 100 cm 132 You Burn 2012 Series of 4 Cibachromes 65 x 75 cm each framed You Burn is a series of four photos developed from slides picked up from a shopkeeper in Jordan probably the remnants of a set of pictures intended to be projected for children to show and name the colours violet yellow orange and red The artist has enlarged them while keeping the text on the reverse The colour is shown irradiating the viewer and the monochrome backgrounds are deliberately left dusty and scratched suggesting a starry sky or a cosmic view particularly in the violet one These works challenge the concepts of light colour and technological issues the Cibachrome technique disappeared making way for the Ilfochrome shown here 134 Placebo 2007 Video 4 minutes loop Placebo is a video loop showing an African Grey Parrot front on against a neutral backdrop The action is reduced to the bare minimum on its perch the impassive bird hardly mo
68. u Beyond the game itself the puzzle is a reconstruction of a world a way of making a fragmented space intelligible oue MU pa ER M MM S SS MEOh pend ce D E j j 7 RoB a b PE os B E Fos E E lt 7 r 5 ae saa xe T again Richer commissioned a wooden jigsaw puzzle from the last company able to make them in France The PUDE EURO ab Gur qp r r c AT en Morena ps elle e AA E r RET reconstructed image is an array of fine black dots a white background which would normally be found on GA ER Mee e messe AU Eid cinema screens space that can accommodate all kinds of possibilities this fragmented and recomposed screen nuls un ya cU py AE JOD ELE MUS P oe cv Cw e ca MEE 66 aha 7 ee ad egt nn am Mm AN Da E tM coer hs y Slee a d E B T m shows us whatever our imagination feels like projecting onto it Despite appearances this is not a solitary game E CAPAZ EEUU puc LU e EN re ERU um IA atus an ee er A es ate elole n m c e ES nte erie ee ee ee tim every move that the person who assembles the puzzle makes has been made previously by the creator of the tre b x d ale lt
69. unts entiers del ear ets is eres vit fen yee als et ang e su 3 LE inst Fa EE E Pepe 2 Fa 7 ASA yet a er h amp k 1 pas F me m e nu hes EC PA dre a M s ae n b ala 2 ok ob C w x a ER ENT Post NEE En ee pde ia d ee le SC Tru a e j SD DCN sine A E s 4 die etal m wo 2 M ee Bee S Di 4 xy E 4 a A Wood be 4m a mW d e m d 4 fer HE 4 MI on L 4 31 M aire ee Lr P LAC m M h Le a ce oF 4 DL lt gt AE BL DB t nn oe CE o t EF s ox pu ats cx Xx d s amp a 4 pubis p ox mw asa t lacs cl ih o amp x1 a ae a be T Fg E al re i ae a ECRIRE DE LE t a uu t CIE d Ben X E T pi Acerca ron p vot n ne dE PX IA aja ee 2 yo TR DEEP Rae a ck PRO us E ER Ereh ee E A amp Wok eee A e UTERE BR Mica t ce oa ea ca E mw a el mit
70. ut being retouched or altered in terms of size the only change being the addition of the frame the third stage entailed scanning and printing the two photocopies Democrite 460 370 B C developed an atomic theory and Aristarque 310 230 B C declared that the earth revolved around the sun The black image and the white image oppose and complete each other like on and off switches day and night the sun and the moon One ephemeral is a facsimile of the infinitely large infinitely small the other bears the mark of the thousands of images and texts produced in an attempt to get closer to these two infinities 114 G F r e 6 e p ih ex 133 e B ia 8 z b a gi u e 4 a e H D d B 2 u a d Y D a 9 P o i a 2 a amp eB a UT a m a u DE aen o a o bd i B D e a a Lj agt n 4 o n x a etu o gt os e e ave a o o zoe A 4 a 3 m E ou D 22 6 E o 3 owl e o a o 1 E la oF e
71. ves while its tail cross fades through all the colours of the rainbow Its round eyes remain fixed on the camera gradually giving the viewer the feeling of being observed the watcher watched The surprising silence of the parrot member of a species famed for its ability to reproduce vocal sound causes the viewer a mix of expectation and frustration This deliberately disappointing way of working replaces the word with the image While the rainbow of the tail reminds us of the gamut of colours used in printing it also suggests the test pattern on a TV screen a single neutral image which potentially contains all others Via this simple effect the artist turns the image into a trap rather than reflecting the world via the endless repetition of the parrot it changes in line with our mental projections producing a placebo effect 136 La Mol cule du territoire 2010 Metal and paint Variable dimensions For LeVent des Forets in the heart of the Meuse department in France Evariste Richer realised The Molecule of the territory a quadripod made starting from the four colours theorema This theorema allows four colours to fill in bordering territories without two identical colours ever juxtaposing 138 CMYK 2009 Series of four unpolished semi precious stones shelf Variable dimensions CMYK refers to the basic colours of printing by their initials cyan magenta yellow and key or black the artist found semi p
72. y appearance The dice all of equal size do not seem to concentrate around a point but to be in a sliding movement and growing constantly In his work the artist often analyses and breaks down the superhuman events that govern our existence and have a fundamental impact on our individual destiny By turning his attention on the one hand to gaming which symbolizes entertainment and on the other hand to a violent manifestation of nature Richer imparts a pronounced tension to the work that is accentuated by the black white contrast of the dice as well as by their density It seems that the avalanche is about to unleash its destructive energy the dispersion of the cubic particles is imminent and a tremendous energy will be released Ni Avalanche Parcours Art Basel 2013 62 Pa ats siat P ph i P tg p bak hrs LEE ats d a Ly CERES p UP Y k t 12 et LE A y VAT PR ile PP AA aa aia boa B Burr t LE d i ana BU ae i pa ja Pee n eu i aaa M P i i i i d a ma PH se oon D o s ia amp Pad dun pat 11 4 oat Tu ass 4 4 oot CELL a ooh 44 pon gee i qua nn E sun 6 oon 808 TEIL eet a mon b atb LI E 888 8 aaa of

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