Inkjet printen - Gesigneerd - 2017
|Kunstenaar:||PAÏEN (Lia Pradal et Camille Tallent)|
|Titel van kunstwerk:||LA GRAND-MESSE (sans-titre 3)|
|Staat:||Zo goed als nieuw|
|Totale afmetingen:||56×79×1 cm|
|Verkocht met lijst:||Nee|
The Grand-Messe presents players and supporters from the final of the Euro 2016 where battled France and Portugal. Extracted from broadcasts of the match, the images have been contaminated by multiple passes in a device of reprography. By a lot of passages, images deteriorate and acquire a new aura of clear-obscure and fates. Subjects are then fixed in ecstatic poses, animated by a mystical force that seems to emanate from the game.
Both multiple (an edition of 40 copies that brings together eleven posters A3) and unique prints (a set of eleven prints in ink jet), La Grand Messe is - by its variations - a reflection on the printed material that oscillates between Iconoclasm and iconoduly.
Born in 1992 in Poissy
Formation: ENSBA (Paris, 2015 - 2019)
Born in 1987 in Suresnes
Formation: Master Histoire de l'Art Moderne et Contemporain, Université Jean Jaurès (Toulouse, 2013)
Live and work in Pantin
Used media: Photography, editorial and multiple practices
‘Be pagan, is firstly find pleasure to see the light’, wrote Barbara Cassin. It wouldn’t be better to formulate the opening to the elaborated practice of concert since three years by Camille Tallent and Lia Pradal. Under the PAÏEN entity, they explore the image and the artist's book, think print in all its forms and possibilities. Their meeting was first a fanzine, which they retained the title with divine syllables to baptize their duet. Articulate "Pa - ïen" and it's a world that explodes, a dark expanse of ink torn with white light that combines fragments of wild landscapes and ecstatic poses, charred churches and metal riffs.
Camille Tallent remembers his fascination, while he was a student in art history, for reproductions of votive paintings of poor quality, sometimes starry with defects of their obsolete media. Lia Pradal refine for several years already her taste for photography. Together, they combine their obsessions for cropping and layout of images with mixed origins, that a technique of analogue reproduction will soon come to blacken, frenetically. If they attach themselves more and more to create and disrupt their own images, they also used to deal with those of invited artists or from archives of various registers - artistic, media, vernacular. Religious iconography and the diversion of some of its codes by black metal, the mysterious force of nature and the sensuality of the body, are some of their marked interest.
Self-publishers not obeying any lines, they realise their printed items in very few copies and distribute them in a targeted way. Paying attention to the flow of the images as to their materiality, they follow them now in volume, such as a draft edition giving birth or growth to a installation, a sculpture or a filmed performance.
By Marie Chênel
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