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Russian submarine, painting, 22 meters
Deposit of the artist in 2011Born in 1957 in Dniepropetrovsk, in Russia, Alexander Ponomarev lives and works in Moscow.After showing it first on the Grand Canal during Venice Biennale 2009, Alexander Ponomarev chose to display in the waters of Vassivière Island its most emblematic work, the submarine SubTiziano. he travel process at the base of this realization is not stopped but find a place to anchor in Vassivière.Alexander Ponomarev appropriates a military object – one that is dangerous and sly, one that became one of the most secretive and terrible weapons of our times. He makes its periscopes, radars and antennas useless for espionage, puts them in motion, thus creating a rather cheerful and festive atmosphere. The artist takes up Leonardo da Vinci's invention in an homage to the Renaissance man who was at the same time artist, scientist and writer; but he withdraws its main characteristic: secrecy and invisibility. Painted with vivid colours and named SubTiziano, this work is also an echo to another artist who fascinates Ponomarev: the 16th century painter Tiziano. Alexander Ponomarev graduated from the USSR Nautical Engineering College in 1979; he then worked several years in the Russian Navy before concentrating on art full time. His works have been exhibited at Moscow Biennale 2005 and 2007, and at Venice Biennale 2007 and 2011. He is one of the major artists on the contemporary Russian art scene.Emerging from the waters of Vassivière Lake, the submarine SubTiziano first seems like an apparition, like a mirage. But his disturbing presence is real. It looks like it is watching and protecting a territory that has been dedicated to artists for more than 20 years. Between land and lake, it is patrolling in a zone of artistic activity, becoming one of its signals. It proves that contemporary creation can appear everywhere, extend its territory and happen in the most unseemly and unexpected places to assure the power of art.
Copyright : Vladimir Sichov
Concrete, 1 m x 1 m x 50 cm
Command of the Centre international d’art et du paysage de l’île de Vassivière in 2010
Born in 1980, Etienne Chambaud lives and works in Paris, France.
In the meadow, just in front of the Art Center, Etienne Chambaud has chosen to partially buried in the ground a dead-weight made of concrete. For his exhibition in Vassivière, taut steel cable was attached to dead-weight and lead to the top of the lighthouse where a cable went through a window and hung down vertically inside dated from the oblique to the top of the lighthouse, was entering through a window - which hung a steel mobile, Model for Hospitality, i.e. Exclusion.
Now in the collection of the wood of sculptures, the dead-weight, became an enigmatic object left by the artist, works as a palimpsest that keeps the track of a previous work. This artwork is part of the reflexion that the artist takes on the nature of the work of art, on its relationships with other artworks, on the contexts and reasons of the appearance of objects, on how they are used and full them of meaning or a particular story.
For Etienne Chambaud, Model for Hospitality, i.e. Exclusion becomes a relic, an object "redeemed" of functionality that today marks the separation between architecture and landscape.
Courtesy: Aurélien Mole
Trees, tape recorders, amplifier, magnetic tape
Nico Vascellari lives and works in Vittorio Veneto, Italy where he was born in 1976.
Nico Vascellari was invited by Marcello Smarelli to design an art intervention in the framework of the ARTools project for the sculptures wood of Vassivière island.
The island forest proved to be an environment particularly well-suited to Nico Vascellari's artistic approach.
The work he is presenting is made up of an element linked conceptually by the idea of memory, the archive, and the metamorphosis of sedimented data.
Two tape recorders play a long loop of amplified sound, made up of a single magnetic tape of 100 meters obtained by joining together all the albums with a forest on the cover and which are part of the collection of the artist. The tape winds its way through the forest surrounding the Art Center, travelling up the trunks of the trees, with one of the tape recorders on REC and the other on PLAY.
The device was designed in such a way that the sound traces are never completely erased. The tape continues recording what is going on outside, in the natural world, and adds the sounds of the Vassivière forest to the original soundtrack. Over time, the original sound traces will be lost, but not before they have been overlaid with other sounds, in successive strata, as though the tape were the living memory of some geological upheaval.
The pre-recorded sound loop will be constantly changing, and with time the sound traces of the audio cassettes will give way to a spontaneously created new soundtrack, dictated by chance.
Nico Vascellari's background is in the underground music scene, where he was front man on the noise band "With Love", an experiment he returned to in his project Lago Morto (Dead Lake), created for the Graz Kunsthalle in 2009. His work combines elements from underground culture and from the visual arts; he uses a range of media - photography, video and sculpture -, while performance holds the key to his work. Many different elements are employed in his art, including fabrics, objects in daily use or consecrated by tradition, lighting effects and new generation technology.
400m2
Command Publique of the Ministery of culture and communication and the Region Limousin in 2009
Born in 1967 in Séoul in Corée du sud , Koo Jeong-A lives and works everywhere.
OTRO is a daring skateable artwork, composed of different bowls, a cradle and three tunnels. Koo Jeong-A invites novices and experts to share the physical and sensorial experience of her work by “skating the landscape”.
At the time of her arrival in 2007 for her exhibition called Oussseux, Koo Jeong-A had been impressed by the mysterious winter landscapes of the island and the atmosphere that arose from it : Vassivière became Oussseux, an unreal, phantasmagoric and powerful dreamscape belonging to the imaginary world of the artist.
With OTRO, Koo Jeong-A tries out the fragile visibility of the artwork, its discrete appearance that tests our perception, obliging you to discover with patience the artwork’s essence.
The concept of OTRO, its ovoid shape, the use of green phosphorescent concrete, its progressive discovery, and its integration in the island meadow make this artwork become an infinite land of investigation, that reflects all details like the light, its link with the site, the atmospheres, the dream and the fantastical. OTRO is an artwork made of bumps – the cradle – and hollows – bowls and tunnels. This work of Koo Jeong-A refers to both definitions of sculpture and representation: hollows and bumps, shadows and lights, soft or accentuated reliefs.
It is an art work to live, to experiment, not only from a sporting point of view but also from a sensorial, sensitive and artistic point of view. It establishes the link between the urban, practicable, sporting and playful aspect of the artwork as a skate park and the artwork from an artistic point of view as part of Koo Jeong-A’s world.
OTRO, which is still currently a project, will be realised fully in 2011 by L’Escaut Architecture (Brussels) in collaboration with Brusk (Brussels) and Barricades (Poitiers) societies.
Copyright: Koo Jeong-A
Tree, marble slab 200 x 90 x 10 cm, 450 kg
Command of the Centre international d’art et du paysage de l’île de Vassivière in 2009
Born in 1975 in Seattle, USA, Oscar Tuazon lives and works in Paris, France.
In the wood of sculptures of Vassivière island, Oscar Tuazon confront the vegetal element to the mineral: an oak and a marble slab compete in a tension dictated by gravity and the very power of the elements. The contrast between the marble, which traditionally refers to the commemorative statuary and funerary art and the tree, a sign of vitality and strength, highlights the ability of plants to adapt to their environments to avoid extinction.
The work - which the artist gave the name of Niki Quester tribute to a person of his childhood who had initiated to pay attention, detail - becomes an experience of gaze that can find an outcome just by walking and the careful observation of visitors to its environment.
Copyright: François Doury
Uniques tennis balls, variables dimensions
Deposit of the artist (owner the artist) in 2009
Born in Bucharest in Romania in 1951, Serge Spitzer lives and works in New York in the United States.
A protagonist of the artistic revolution of the late 60s, he began to develop a production of concepts based on “models of reality”. The play of tensions between visibility and invisibility, order and chaos, weight and fragile floating, statics and movement is a recurrent theme in Spitzer’s work, which includes references to multiple forms of social and political functionings. He combines artistic conventions with biological, technological or social systems to question the processes of communication, perception and awakening of conscience.
His works, shown in the most prestigious institutions and manifestations, are linked to their sites, such as Re/Cycle (Don’t Hold Your Breath) to the Venice Biennial, Re/Search (Alchemy and/or Question Marks with Swiss Air) to the Kunstmuseum in Bern, as well as his presence today in Istanbul with Molecular (ISTANBUL).
The ephemeral project Still life on Vassivière Island, composed of tens of thousands of unique tennis balls in an area measuring a few hectares, is not a simple composition of static objects, as its title may ironically suggest. Fascinated by the multiplicities of typical landscapes, Serge Spitzer chose to terminate the cycle of creation of this highly enigmatic installation in the sculpture wood of Vassivière Island on the heights of the Deleuzean Plateau de Millevaches after having travelled in the “American BACKYARD” of the gardens of the Aldrich Museum of Contemporary Art at Ridgefield in 2008 and at the “Swiss ALPS” at Zuoz in 2009.
The work is a demonstration of an imperceptible "reality model" which propagates like a virus and presents itself as a physical metaphor of the way that art interacts with everyday life. As in numerous “viral sculptures” conceived since the 90s, the ephemeral structure that Serge Spitzer has installed in the Island meadow is transformed over time by uncontrolled and accidental forces: the balls will be swept away by wind, storm and rain, or else knocked out of place by visitors; now and again, children will be tempted to play or just take one; and the grass will grow slowly to recover the original.
Serge Spitzer has engaged in the design and the manufacturing process of this work to ensure the unique and at the same time ephemeral nature of each ball without any concern to preserve the work. So, on each used ball has been printed the image of a tiny detail of a piece of lawn photographed by the artist and then blown up to arrive at this pixelated green, a near-perfect mimetism of the places where they were implanted up to now.
Despite its very minimalist formal execution, Serge Spitzer’s project is entirely built around the imperfection of reality, with social and political overtones. His work takes possession of the surroundings with objects that imply at one and the same time notions of leisure, play and military occupation.
In the tradition of those artists who have used landscape as a vehicle for contemplation, Still life becomes a field for thinking.
Copyright : Jean-Baptiste Decavèle
Mercedes Benz, street lamp, elastic cable, metal 200 x 450 x 500 cm
Deposit of My Private Milan (owner My Private Milan) in 2009
Born in 1979 in Germany Vilsbiburg, Michael Sailstorfer lives and works in Berlin, Germany.
Transformations, adjustments contextual spatial appropriation, Michael Sailstorfer's work is quickly identified by his interest in daily objects, the materials around us, his fascination with identity and the specific history of these objects and their own destiny. He deasls with these things, breaking them up, separating them, deforming them, adapting them to gather them again, moving them, reinterpreting them and re-qualifying them. Such a distortion of the meaning of the object and parallel use of its formal qualities does not produce its destruction, the aim is rather to reconfigure and change its meaning. Two works by the german artist are presented in the wood of sculptures of Vassivière island. Placed in very different parts of the island - in the forest, near the lake, in the meadow - these works emphasize the artificiality of Vassivière island and his artistic vocation.
What makes Sailstorfer’s work so extraordinary is the ardent desire of its realization and the melancholy in which it is produced and tragedy aware of his destiny. Sternschnuppe (Shooting star) is one of the most important works of his career, for his extreme poetry, the power of the concept, the comic sense of its realization and the tragic note of its outcome. The artist presents himself initially as a dreamer, who no longer wish to be submitted to a mysterious entity when he desires to see a shooting star in the sky. It is a romantic desire to produce a natural phenomenon filled of emotions.
Whether true or not, the artist admits to have done this work for his girlfriend for who he wanted to send up shooting stars. The Mercedes W123 with a catapult for streetlights and directly built in front of the Centre international d'art et du paysage, welcomes visitors with humor, noting the entrance into an artistic territory, a place of curiosity and imagination.
Marne in bulk not dried, 324 m
Command publique du Ministère de la culture et de la communication for the Centre national des arts plastiques - Cnap (owner Cnap/Fnac) in 2009
Deposit of the architect and the Centre national des arts plastiques - Cnap in 2009
Born in 1923 in Budapest, Yona Friedman lives and works in Paris.
For Vassivière, Yona Friedman has created for his exhibition Etc. Balkis Island with Jean-Baptiste Decavèle presented from the 5th July to 1st December 2009, The Unicorn of Vassivière ("Unicorn Eiffel"), an ephemeral sculptures that takes up the whole area in front of the Art Center, drawn on the ground with a mineral substance (carbonate) and completely visible from the top of the lighthouse built by Aldo Rossi to dominate the island. the silhouette of the dog Balkis playing at some distance from the Unicorn was made by plannung Sarrasin wheat grains.
The reference to Incan civilization is explicit, with the imagination carried through the zoomorphic and anthropomorphic figuration surrounded by a maze of geometric shapes like those still seen in the South of the high plateaus at Naszca.
Copyright: Jean-Baptiste Decavèle, Yona Friedman, Les voyages extraordinaires (le voyage à la licorne spatiale), 2009
Drawing ground track with buckwheat, 36 m
Deposit of the architect in 2009
Born in 1923 in Budapest, Hungary, Yona Friedman lives and works in Paris, France.
For Vassivière island, Yona Friedman created alongside the mineral Unicorn Eiffel, another land sculpture, this one here plant, which occupies the meadow behind the Art Center. It is Balkis. Tribute to his inseparable dog, now dead but embodies a unique and exceptional educational breath, protagonist of several books and theoretical works (Vous avez un chien. C'est lui qui vous a choisi, L’ordre compliqué et autres fragments).
These two figures of animals, visible bestiary of the sky as Earth, transfigure the meadows of Vassivière by their monumental presence and mysterious.
Balkis appears schematically appears in buckwheat, playing from far with Unicorn Eiffel.
In this drawing in buckwheat, the visitor finds the characteristic trait of Yona Friedman’s cartoons created over 40 years to explain their social, urban and architecture models.
Buckwheat named "100-day plant" has been chosen by the nature of its culture that spreads over three months from June to the end of August - the sculpture has been created for the exhibition Etc. Balkis Island presented at the Art Center during the summer 2009. Once widely cultivated in areas with poor acid soils, in Central Europe, Russia, North America and in France (Bretagne, Normandie, Limousin, Auvergne, Pyrénées...), buckwheat is now a plant whose culture keep disappearing in France.
Copyright: Frédéric Legros
Tree, animal furs, wire
Deposit of the artist in 2009
Born in 1974, Victor Man lives and works in Cluj, Romania.
Victor Man appears as one of the most interesting artists on the emerging scene of Eastern Europe. His work has been presented in the Romanian Pavilion in Venice Biennial in 2007, his international reputation keeps increasing. Using painting, sculpture, mural painting or screen printing, he creates installations in which intertwine the individual and collective memory, the themes of eroticism, power and desire.
As part of his solo exhibition presented at the Centre international d’art et du paysage in 2009, Victor Man conceives a sculpture project which materializes in the forest by a young tree covered with numerous animal furs. Over the seasons, experiencing the harsh climate and hostile of the island, furs will waterlogge, freeze, dry out and eventually will fall. By its mysterious presence in the wood of sculptures, the work appears more as a discrete inscription dragging Vassivière island in an area of consciousness and meditation, a place of profound melancholy.
Copyright: André Morin
Wooden rod 31 cm, young tree
Born in 1972 in Kortrijk, Belgium, Kris Martin lives and works in Ghent, Belgium.
The experience of time and the desire of understanding it in order to overtake it is a central element of Kris Martin’s work. The presence of his productions pushes the viewer to question his own position in relation not only at work but also in relation to the wider framework of its existence.
Presented in the exhibition MY PRIVATE escaped from Italy in 2006, Conductor by Kris Martin joins in a sustainable manner the place he had originally chosen in the wood of sculptures of Vassivière island at the entrance of the Art Center, near the Aldo Rossi’s lighthouse, creating a new border between architecture and nature.
Conductor is a thin rod of conductor, attached to a branch of a young tree, which moves in the wind and rises gradually at the rate of growth of the tree. For the artist, the first tree in the forest heads the Centre international d’art et du paysage de l'île de Vassivière.
PVC, plastic sheet, 400 x 528 cm
Commande publique of the Ministère de la culture et de la communication (owner Ciap) in 2007
Born in Worm in Germany in 1935, Hans Walter Müller lives and works in La Ferté–Alais in France.
An engineer and architect from the Polytechnic School in Darmstadt in Germany, Hans Walter Müller pursued his studies in Paris and engaged in architectural studies with the material of his time: artificial light, projected image, sound, plastic, electric motors, all at the service of the “architecture of movement”. He belonged to the kinetic art movement, whose spirit he prolonged and opened to new fields of experience applied to architecture, which have now become the “architecture of air”.
The three inflatable modules conceived for the Centre international d’art et du paysage of Vassivière Island under the auspices of a public commission of the Ministry of Culture and Communications, subscribe to the cultural policy of the Art Center. The idea is to create a new type of equipment that is both a work of architect an d a mobile pedagogic tool designed to be transported, installed and practiced as a play space for discove ry and a meeting place, in keeping with the notion of a “pavilion-garden”.
The conception of an architecture of air, light and nomadic, its ability to be used principally as a teaching tool, its easy and playful installation on a converted platform which is in itself functional and ecological, are the bases of this project. In the sculpture park, Hans Walter Müller’s three modules offer different architectural particularities in respect to the different geographical sites: the forest, the lake and Aldo Rossi’s architecture.
Copyright: Marc Domage
PVC, plastic cloth, wooden platform, engine, 400 x 528 cm in diameter
Born 1935 in Worm (Germany), Hans Wlater Müller lives and works in La Ferté-Alais.
Hans Walter Müller's inflatable structures can be grasped in many fashion : playful, ephemeral, memories of a nomadic time... All of this is true but this process encompasses real questions towards architectur e and its many uses. This modules are also providing real solutions to chosen way of lives. The pair of creators, Marie-France Vesperini and Hans Walter Müller are for twenty years embarked in the great adventure of living under, inside, with an inflatable habitat serving many functions (protective skin as well as screening surface). They have been entrusted with the mission of bringing back to life this fascinating page of the history of architecture that is telling about the party, about nomadism and about a new way of considering our relationship with nature and our environment.
Born 1935 in Worm (Germany), Hans-Wlater Müller lives and works in La Ferté-Alais.
Hans-Walter Müller is the true inventor of the "inflatables", those inhabitable air architectures. For more than 30 years, Hans-Walter Müller, artist that belonged to the 60's cinetic art movement, is developing a nomadic, ephemeral, light and easy to use architecture. In 1971, the architect settles in one of this inflatables on the grounds of the Cerny airfield in the Ferté-Alais forest (Essonne). Amidst the trees, surrounded by ponds filled with aquatic plants and rare fishes, the yellow bubble shelters workshops, work and recreational area that are laid out on sliding planking. Underground, carved in the rock, are the domestic and rest areas which are opening on the outside (terraces, picture windows).
"An inflatable, explains Hans-Walter Müller, is simply a skin containing a space, separating the outside from the inside, appearing and disappearing and sometimes dematerializing. In this its a playful, fantastic and unusual space, very far from the traditional building techniques".
Various plants, variable size
Commande of the Syndicat mixte "le Lac de de Vassivière" (owner Syndicat mixte "le Lac de de Vassivière") in 2003
Born 1943 in Argenton-sur-Creuse, Gilles Clément works and lives in Crozan in Creuse in France and in Paris in France.
Gilles Clément, horticultural engineer, landscape artist, writer, gardener, teaches at the Ecole Nationale Supérieure du Paysage at Versailles. Apart from his activities as creator of parks, gardens, both public and private spaces, he's currently engaged in theoretical and practical research along three main axis : the Jardin en mouvement (moving garden), a concept born from the practice of his own garden in Creuse, the Jardin planétaire (planetary garden), political project for a humanistic ecology, the Tiers-Paysage (Third-Landscape), a concept born from analysis on Limousin's landscapes.In 2003, Gilles Clément, proposes, following a commission from the Syndicat "le lac de Vassivière", a landscape planning document for Vassivière prompting the cration of various gardens around the lake and on the island. the island is perceived by the landscape artist as a group of "interdependent spaces", as in a place where one goes from one ambiance to the next : building vicinity, in bloom meadows, shaded woods ...Gilles Clément's landscape charter underlines the diversity of this ensemble removed from the farming areas (diversity of species, landscapes, "gardens"). Considering the lake as the landscape's theatrical background, from any point of view possible, Clément must integrate it as a major asset of the landscape while taking into account its summertime use. This project, the one of its kind in Europe, aims to maintain or improve the components of the ecological balance, as the only way to solve harmoniously and cost-effectively the aesthetic components. With this approach, landscape are environment are intimately linked.The charter specifies a series of management recommendations on particular topics like farming and forest management, the care and valorization of noticeable natural sites ... ; the detailed charter presenting a series of development projects for the site.
The Syndicat "le lac de Vassivière" chooses as a first implementation of the charter, the creation of a blooming meadow on the south side of the island allowing the enhancement of an undeveloped part of the island though very visible from the beach and the point of view of Auphelle. A square shaped plot of land (2500 m2) was then implanted to increase visibility. Another plot (1100 m2) was planted nearby on a location with an interesting visual impact (vicinity to the footpath, slope, visibility from the castle's square).
Copyright: Syndicat "le Lac de Vassivière"
Iron, 210 x 364 x 304cm
Deposit of the artist (owner artist) in 2007
Born in Turin in Italy in 1972, Marco Boggio Sella works in New York in United States.
Marco Boggio Sella’s formal process springs from a reflection on the visual and psychological impact of the work of art on the spectator and the interpretation that the spectator makes of it.
Untitled (2003), representing a German helmet which is both monumental and rusty, functions as a metaphor for the weight of History, still deeply anchored in our minds. The act of reproducing this emblematic object in a hyper-realistic and over-dimensioned manner transforms it into a representation of the concept itself.
What at first glance reminds us of a painful and violent image of our contemporary society is revealed as a troubling vehicle of memory. The rust that covers the object, associated with its relic nature, annuls all doubts as to the possibility of a commemorative reading of this sculpture.
In placing this work on Vassivière Island, on land that resisted the Nazi invaders, the artist wanted to reactivate our duty to remember by echoing the ever-living memory of the local population.
Marco Boggio Sella thus erected a rusted and abandoned representation of Nazism. Here the helmet, a relic of those dark times, stands imposing in all its volume, forcing us to a permanent confrontation with History.
Courtesy: Marc Domage
2.5 x 4.8 x 4.8m
Born in Germany in 1979, Michael Sailstorfer lives and works in Berlin in Germany.
Michael Sailstorfer likes to take apart vehicles or objects, an activity that enables him to understand the interior of all sorts of constructions that surround him. But if he disassembles, it is above all for the purpose of rebuilding better and giving a new life to the original object. By means of this process of metamorphosis which is at the same time both work and play, he applies himself to creating a work that, equipped with a new name, sets a sto ry machine in motion.
Michael Sailstorfer refers consciously to artistic strategies of past generations and uses them to unmask the tragedy of their seriousness.
Waldputz’s radical conquest of artistic space in nature becomes a piece of forest that is carefully cleaned by hand. An artistic strategy easily reminiscent of Richard Long or Michael Heizer, yet – given the vain and absurd character of the task – the meticulous way in which it is produced, and the transitory nature of the result, represent an ardent, Utopian and finally tragic desire.
Faced with works of this sort that are sensitive and extremely pragmatic in terms of construction, but at the same time absurd, one perceives at once the poetry, desire, euphoria and irony of the production, and the melancholy of its achievement.
Variable technics and dimensions
Commande publique of the Ministère de la culture et de la communication (owner Ciap) in 2003
Born in Saint Georges de Didonne in 1959, Erik Samakh lives and works in Serres in the Haute-Provence Alps.
Erik Samakh’s thought is the opposite of any desire for enshrinement that excludes human presence from protected nature. He is interested in modes of behavior and communications, in the relation between things rather than the things themselves, including in this process all living things, which also includes the public. For him, in no case does the relation to nature take the form of romantic isolation and a retreat from the social field.
The installation of Grains of Lights took place at the same time as The Tijuca Dreams, after the storm. As much at ease with nature as with technology, Erik Samakh produces a work among the trees on the Island, an autonomous work comprised of three hundred and fifty Grains of Lights that are charged during the day with solar energy before transforming at nightfall into a constellation of stars.
Aluminium and resin, solar collector, turbine and electronics, 70 X 10 cm
Born in Saint Georges de Didonne in France in 1959, Erik Samakh lives and works in Serres in the Haute-Provence Alps in France.
For Vassivière, Erik Samakh conceived an installation of thirty solar flutes installed on a site of over 30 hectares. The sounds of The Flute Players are always quite short and have various tonalities, because each module, with the autonomous energy of its solar captor, breathes air into a unique-modeled flute. The source of solar energy introduces a modulation of intensities according to the rays of light. These two parameters contribute together to a permanent renewing of sound until the silence of night. This variation coincides with the milieu itself. Like so many animals, the flutes react to the alternates of day and night as well as to weather conditions. Erik Samakh mixes in his work his interest in nature and his interest in technology. He would like the interface with the user to be as direct as possible and for the spectator not to see the technological machines.
In early 2002, the Centre international d’art et du paysage invited Erik Samakh to take part in an exchange program among artists, landscape gardeners, architects and actors of local life (inhabitants, elected representatives, etc.) to produce in situ the replanting of 2,500 trees and bushes by the inhabitants of a region wasted by monoculture and storm. The Tijuca Dreams are a re-invention of garden art and lend us the opportunity to reflect on biodiversity, participative culture, the role of sound in the perception of space and development of territories.
Concrete 50 x 230 x 63cm
Commande of the Centre d'art (owner Frac Limousin) in 2005
Born in Bern in Swiss in 1944, Olivier Mosset lives and works in Arizona in United States.
Ever since 1964, Olivier Mosset has found himself in the context of critical analysis of painting. The chosen shape, a black circle painted in the center of a square, becomes a signature for him before he starts to adopt monochromes, a practice that derives from seeing painting as an object. Settled since 1977 in the United States, there he pursues extremely coherent work painting around questions concerning signature, anonymity, appropriation and repetition.
Maillol’s famous sculpture, Hommage to Cézanne