Archives de catégorie : Honoré d’O

Honoré d’O, biennale de Sydney, les images

Honoré d’O: ‘Air and Inner’
Belgian artist Honoré d’O turns everyday materials into spectacular artistic scenarios. Here, he takes that most exceptionally everyday of objects – paper – and uses it in giant, sweeping quantities to occupy much of the length, width and, impressively, height of the cavernous Pier 2/3 space.

Honoré d’O, Wanderlust au Artsonje Center à Séoul

« Wanderlust » au Artsonje Art Center de Séoul (Corée) regroupe des oeuvres de Marcel Broodthaers, Panamarenko, Francis Alys, Joëlle Tuerlinckx et Honoré d’O. Du 23 juin au 12 août.

Artsonje Center is pleased to present WANDERLUST: A Never Ending Journey to the Other Side of the Hill from June 23 to August, 2012. WANDERLUST is an exhibition project developed in Belgium and realized in close collaboration with Samuso in Seoul. It is focused on five major Belgian visual artist, among whom some of the most infuential classical figures in Western art history of the 20th century such as Marcel BROODTHAERS or PANAMARENKO. WANDERLUST is conceived and curated by Prof. Hans de Wolf from the Free University of Brussels (VUB).
WANDERLUST is probably one of the most beautiful words in the German language and is universally understood as referring to a profound desire to leave the conventions of everyday life behind, in order to discover other cultures and other habits. It could be said that WANDERLUST is as old as mankind, however it obtained a particular meaning when at the beginning of the 19th century the artists of German romanticism embraced it as a key concept in their struggle against the cold heritage of rationalism and the age of enlightment.

WANDERLUST is for instance what brought Francis Alys to Mexico City, and although nowadays he is creating his work in such difficult places as Afghanistan (his contribution to DOCUMENTA this year), Mexico became his safe haven, and an unlimited source of inspiration for his work; a place where, according to one of his famous drawings, everything goes and even goes fine… as long as he is walking. Moving, as a primarily condition for opening the artist’s mind, making him accessible for the poetry that is around, and that nobody ever noticed before, is also fundamental for the mindset of Honore d’O. During the Venice Biennial in 1999, both d’O and Alys entered into the city at the same day, but by other means of transport. During three days they walked on looking for each other. The first carried the lower part of a Tuba Helicon, the other the upper part.

For the WANDERLUST exhibition in Seoul, d’O created a spectacular installation piece that became the icon of the poster. Laying on the water, the pedestrian strip not only suggests the desire to reach the other side of the river, it also brings the WANDERLUST idea on a mental level and refers to the old European tradition of Christianity, where walking on the water is a matter of inner conviction.

This exhibition in Seoul could not pass beside the inventive genius of PANAMARENKO.? For more than forty years the artist used a scientific and technological knowledge in order to discover the most exiting devices that would all have been extraordinary inventions, if only they had worked. For the first time in Korea the exhibition contains some of his work in robotics and a series of plans and designs.

WANDERLUST can also be experienced as a necessity to travel away from the present and the oppressing stupidity of society by the mere force of the artist’s imagination. It is in this sense that the spectacular Jardin d’Hiver (Winter garden) by Marcel BROODTHAERS has to be understood. Composed out of domestic palm trees, modest garden chairs and exotic pictures found in an illustrated encyclopedia, this installation accompanied by a film and melancholic musical score is focusing on the difficult position of the artist as a mediator society. This type of installations has been, and still is, highly influential on several generations of artists in Europe.
The work of Joelle Tuerlinckx reflects a similar mindset. As an artist Tuerlinckx is trying to constitute the basic principles that connect our mind with our environment. In the exhibition two of her major systems (and obsessions) are brought together for the first time: stones and birds. They are installed as representative for two different instruments to investigate the world.

The WANDERLUST exhibition comes with a wide variety of documents, objects and artworks that help to contextualize and deepen its basic arguments, including original artworks by Duchamp and Boetti, documents on Goethe, Sterne and Klebnikov. May it lead to a profound Korean WANDERLUST experience.

Honoré d’O, biennale de Sydney, All our relations

Honoré d’ O participe à la 18e biennale de Sydney conçue, cette année,  par Catherine de Zegher and Gerald McMaster. Du 27.06 au 16.09.

Le communiqué :

We are moving on from a century in which the radical in the arts largely adopted principles of separation, negativity and disruption as strategies of change. Based on oppositional thinking, such modernist principles proved tenacious and acted as a default criticality in a world in which the drive to progress became more complicated and the consequences more ambiguous.

A changing reality is apparent in a renewed attention to how things connect – how we relate to each other and to the world we inhabit. Art is a part of this growing awareness. Where once there was an emphasis on alienation and distance, there are now concurrent shifts of thinking that are informing the work of artists and writers across the world. These shifts – incipient and partly unformed – are only now beginning to be acknowledged, but are of real significance.

In the arts, as elsewhere, analytical reflection has led to an understanding that human beings are highly dependent upon our often overlooked relationships with others and with our common world. While this connective model is still embedded in a few societies, established western cultural patterns have tended to emphasise the fragmentation and isolation of the individual. As a result, there are relatively few remaining models of participatory forms of perception and sensibility. A reciprocal relation calls for a profound re-evaluation and the development of new models of working together within our changing reality. One of the things that art can do is to allow us a space for such attention – for thinking together that is open-ended.

The 18th Biennale of Sydney focuses on inclusionary practices of generative thinking, such as collaboration, conversation and compassion, in the face of coercion and destruction. With the creation of conditions for an encounter in consonance with our surrounding world, this event brings emphasis to what is already happening at large. Drawing on the possibility of the present, the Biennale emerges from the engagement of all participants by using a model that begins with two curators in dialogue. This matrix of conversation extends to both artists and audiences in a multi-vocal correspondence.

all our relations relies on these various exchanges, affinities and empathies as its dynamic structure, the vascular and cellular structure and sinew of a kind of living, breathing organism, from which the Biennale’s meanings grow. Artists work in a context that allows for mutual recognition and audiences from differing backgrounds are part of this continual development, finding their own direction in these connections. It is in this altered attention to one another, in the meeting and making of ideas together, that constructive consequence can follow.

In seeking conjunctive energies, this collaboration has taken place on many different levels: in co-existence, conversation and juxtaposition but also in purposeful connectivity. Within this framework of mutuality, recognition and thoughtfulness, disparate ideas – some distantly and some closely related – are brought together in an exhibition process of composition; much akin to the process of thought itself. Artists, who can often feel isolated in their practice, come together with neighbouring artists. Rather than one work appearing to link to one or two other works, an attunement between all creative impulses takes place in time. Projects correspond as if evolving from each other and progress through the sequence of venues and buildings. This interconnection and interdependency occurs in the knowledge that audiences will take elements from the exhibition and connect them with their own experiences. In this shared space, the meaning and consequence of the artists’ works is engendered.

all our relations has its roots in storytelling as it is currently being re-imagined, as a coming-into-being in relation. In the reciprocity that is storytelling, both teller and listener inhabit the space of the story. Telling stories connects us and allows us to care, to be: it fosters collaboration; it aggregates knowledge and generates new ideas; it ignites change; and, ultimately, it builds community. In this matrix, the different projects can be compared to a set of storylines, which artists, curators and audiences relate and translate. Through this process, a collective composition or new Gesamtkunstwerk is accomplished in the active generation of meanings realised by all those who take part, each taking their stories home and beyond …

Honoré d’O’s sculptures, videos and installations create participatory scenarios involving the audience. Using down-to-earth materials, d’O evokes a situation that subtly and potentially brings about small changes in how people look at and react to everyday things. His installations are informed by underlying meanings and connections that constantly merge life and art and vice versa. The method he uses is to take the work of art out of the usual prescribed framework and to integrate it in the outer environment. The artist then invites the audience to interpret the work. In this way, the artwork puts the viewer in front of a question that needs to be answered, setting in motion complicated machinery of actions, reflections and emotions.

Artist Statement

Since ‘tomorrow’ is a real product and time is pushed to become a trading technique, the lyrics of life hardly escape the machine of functions. Our inversed freedom easily throws words in the infrastructure of humanity, though an operational soul only discusses art as a condition. A hot plot for behaviour won’t endanger oneself if air could squat down in the inner topologics of our derelict environment. Air and inner! A longing wave configures the fl ux of vice-versas between the subject of the constituent and the horizon of the clause, to synchronise a vision with an experience. In that scenery, according to a reflective tradition that can be tracked back to Aristotle and to the never-written deeper down, the project mirrors its contraject: urgent inner commanding implants mental investigation in the vertical subject of ‘the open body of art’, textualises more mythological alchemy, generates wind philosophy and sacroabsurd grammar, before climate and culture will apply our senses into purely social need. During the authorisation of a linguistic constellation – if classic drama forced me to choose: I’d prefer the tongue and split the ear. For humanity: little alternative. For the eye: no relevant pseudonym. For the air: extra inner.

Honoré d’O, « Angeraakt / Touché », old factory Les Cordonniers à Wetteren

Cordonnier, Old factory building (Schoolstraat, 9230 Wetteren, Belgium)
Group Exhibition
From April 21st ‘till May 20th 2012
Opening on April 21st at 16h00

In the empty textile factory Cordonier in Wetteren, Belgium, the exhibition ‘Aangeraakt / Touché’ opens on Saturday April 21st. Curator Eric Bracke invited fifteen artists and artist duo’s to show their work in dialogue with the former knitwear factory.

Among them are internationally renowned artists such as Johan Tahon, Honoré d’O and Leo Copers. Together with Wouter Cox, Peter De Bruyne, Bert Drieghe, French Gentils, Tom Jooris, Peter Puype, Lore Rabaut & Frank Depoorter, Ilse Roman, Bruno Vandenberghe, Caroline Van Der Straeten and Nicholas Eeckhoudt, they pull a surprisingly artistic trail through the old factory building with sculptures, paintings, photographs, projections, performances and spatial interventions. The British duo The Caravan Gallery crosses the canal. For two weekends, they will settle their caravan at the entrance of the factory building and make a work of art in interaction with the visitors and local people.

The Dutch word ‘Aangeraakt’ (Touched) refers primarily to a verse line from a social anthem De Internationale. In 1900, the Belgian poet Henriette Roland Holst wrote: Begeerte heeft ons aangeraakt! (Desire touched us!). From this point of view, the exhibition is directly related to the past, the history of the factory which was established in 1908 and to the former proletarian city of Wetteren.

At that time, the residents of Wetteren were still reeling from the Great Strike of 1907 in the textile factory of Felix Beernaerts. It was the first showdown between the factory leaders and socialist trade unions outside the major cities.

Also, the word ‘Aangeraakt’ has a central role in Catholic tradition. It appears regularly in literature from cardinals like Augustine to poets like Hadewych and afterwards in the texts of mystics. In their effort to describe the encounter with the ‘Supreme’, they resort to earthly, sensual experiences. They describe the divine love as a stunning sensual and physical touch.

These two associations of ‘Aangeraakt’, the striving to elevate and sublimate life’s ordinarity on the one hand, and the earthly and sensual translation of the divine on the other hand, are the poles in which this exhibition is located.

Opening on April 21st 2012 at 16h00, with an introduction of Roland Jooris and initiated by Eric Bracke.
Exhibition hours: Friday from 18h00 to 21h00, Saturday and Sunday from 14h00 to 18h00

Art Brussels, booth 3 A02, preview

La galerie participe à la trentième édition de Art Brussels

Booth 3 A02 – 18 – 22 april 2012

Clémentine Beaugrand & Antoni Collot – Olivier Foulon- Honoré d’O – Suchan Kinoshita – Aglaia Konrad – Jacques Lizène – Emilio Lopez Menchero –  Capitaine Lonchamps – Jacqueline Mesmaeker – Benjamin Monti – Walter Swennen – Jeroen Van Bergen -Raphaël Van Lerberghe – Marie Zolamian

Preview & Vernissage Wed 18 April (by invitation only)
From Thu 19 till Sun 22 April 2012.

Wed 18 April: Preview 12pm-4pm/ Vernissage 4pm-10pm
Nocturne: Thu 19 April 7pm till 10pm
Thu 19 – Sunday 22 April: 12pm till 7p

Les péripéties, 2010, 2 cartes postales (J. A. Ingres, La Baigneuse. Kalabaka, Météores, le couvent Roussano), 60 x 43 cm.

Raphaël Van Lerberghe, Ou bien… ou bien, technique mixte, 29,7  x 21 cm, 2012

Aglaia Konrad, Undecided frames (01), photographies couleurs, impression numérique, 54 x 41 cm, 2012.

A propos des Undecided frmes d’Aglaia Konrad, lire le billet précédent sur ce blog

Capitaine Lonchamps, Neige 2012, technique mixte sur imprimé, 19 x 30 cm

A propos d’autres Neiges sur menhirs et serpent, également montrées à Art Brussels, lire le billet précédent

Clémentine Beaugrand et Antoni Collot, Art paranoïde 2009, boite de jeu, édition 10/10, 2012

« Dimanche 25 octobre nous nous rendons à la FIAC. Aux Tuileries, entre les deux lieux d’exposition, nous arpentons les haies du jardin. Notre attention est captée par un certain nombre de traces, que nous envisageons être de possibles résidus des acteurs de la FIAC. Nous nous mettons alors en quête de ces différentes reliques de σπέρμα (semence, grain, graine) disséminées. Nous nous interrogeons sur la relation qui existe entre rétention, éjaculation et pouvoir créateur. Nous pensons aux draps bordés d’Emmanuel Kant, aux croquis d’anatomie de Léonard de Vinci, à la vasectomie de Jacques Lizène. Nous en récoltons plusieurs centaines »

Sculpture nulle 1980, instruments de musique modifiés en guise d’interrogation génétique, art syncrétique, croisement cor – clarinette, en remake 2011. Technique mixte, cor, clarinette, 120 x 50 x 22 cm
Sculpture nulle 1980, instruments de musique modifiés en guise d’interrogation génétique, art syncrétique, croiser un violon et une raquette de tennis, en remake 2011.Technique mixte, violon, raquette, 100  20 x 10 cm
Art syncrétique 1964, instrument de musique modifié, remake 2011, didgeridoo croisé tuba. Didgeridoo, tuba, 161 x 43 x 30 cm.

A propos de l’ensemble de l’installation de Jacques Lizène, lire le billet précédent. En voir d’autres images.

Jeroen Van Bergen, Boot 003. Echelle ¼.  Technique mixte, 40 x 117 x 111 cm.

Emilio Lopez Menchero, Gare au gorille ! Huile sur toile, 2012 170 x 150 cm

A propos de l’ensemble des peintures d’Emilio Lopez Menchero, lire ici, voir les images là 

Honoré d’O, No Polliplan Tic Tac Space, dans « Semaine »

« Semaine » travaille avec les états temporels des œuvres et des expositions et propose une approche de l’art en train de se faire. Cette exploration est développée au rythme d’un numéro de seize page par semaine, consacré à un projet artistique et conçu avec les acteurs de ce projet. Les volumes réunissent les numéros parus au cours des quatre mois antérieurs et dévoilent l’envergure et la diversité du territoire artistique aujourd’hui en France.

C’est ainsi que « Semaine » consacre sa dernière livraison à l’exposition « No Polliplan Tic-Tac Space (Si la langage remplace le titre) » d’Honoré d’O, conçue au Parvis Centre d’Art contemporain à Ibos, organisée par Magali Gentet.

L’opus consiste en une série de reproductions des installations conçues pour le lieu ; le corps du récit est assuré par Chrystelle Desbordes, historienne et critique d’art, enseignante aux Beaux Arts de Tarbes. L’auteur nous livre une analyse pertinente de cette expérience de poétisation de l’espace, de l’objet banal au paysage, à l’in situ d’un langage inventé, en passant du paysage à l’expérience du travail. Elle conclut : « Non sans lien avec la Pataphysique d’Alfred Jarry – cette science des solutions imaginaires, les œuvres d’Honoré d’O nous font vivre, au Parvis, l’expérience d’un espace critique ; son travail ne crée pas un « ailleurs » plus que le réel, il est partie intégrante du réel qui l’entoure. En ce sens, l’artiste pourrait être affilié à l’auteur oulipien défini par Jacques Roubaud et Marcel Benabou : « un rat qui construit lui-même le labyrinthe dont il se propose de sortir ». Et c’est avec une certaine grâce qu’il nous invite à le suivre dans ce dédale, en (y) inventant de nouvelles règles de composition poétique ».

Semaine n°291
Revue hebdomadaire pour l’art contemporain.
Vendredi – Friday 03.02.2012 / 4€
Parution Semaine volume VIII / mai 2012 / 18€

La publication peut être consultée gratuitement sur le site de l’éditeur en version numérique.




Honoré d’O, No polliplan Tic Tac Space, les images (suite et fin)



Trois extraits de (l’excellent) dossier pédagogique qui accompagne l’exposition :

L’oeuvre d’Honoré d’O est aussi insolite que prolifique, exhubérante et pleine de mystère à la fois. Lorsque Honoré d’O nous parle de son oeuvre, c’est fort souvent dans un singulier sabir où il mêle le français, le néerlandais et l’anglais, un discours tout en dérivés, aux nombreux néologismes, aux contractions imagées. Tout comme dans son oeuvre plastique, il utilise le paradoxe et l’oxymore, l’hybridité du langage. Il y a un grand amour du mot et de la langue dans le travail d’Honoré d’O, bien qu’à première vue chacune de ses réalisations semble «cacophonique» et «orgiaque». S’il y a amour de la langue dans ce travail, il y a aussi le plaisir de l’objet plastique le plus anodin ou du moins le moins visible, la gaine éléctrique destinée à rester calfeutrée dans les cloisons murales et qui devient une lance, un lasso téméraire ou bien même un tableau, le serre joint anodin qui se révèle hirsute et rigolo, le ruban d’isolation en mousse qui dessine des courbes et qui chatouille notre regard… Honoré d’O est un inventeur, un cabaliste plasticien, un poète savant qui met en image le langage des étoiles.

Ce qui frappe à prori dans les mises en espace d’Honoré d’O c’est l’éclectisme, le télescopage, l’amalgame,le parasitage, le frustre, la confusion… Ce sont des notions caractéristiques d’une époque et d’une culture compulsive prise entre la compilation des signes, le jeu des citations implicites et le déni du geste comme élément significatif du processus d’élaboration des images. Mais cet apparent chaos est organisé avec soin, ce désordre est feint, pour que l’on puisse, non s’y perdre, mais s’y retrouver ! De tout ce bric à brac surgissent des rencontres. Composée de ces petits riens mis en réseau, où se démultiplient les significations par autant d’éclosions, de greffes, de sutures et/ou de rejets, l’exposition d’Honoré d’O au Parvis cartographie un grand corps ouvert, celui du lieu dans lequel nous nous trouvons, où les flux d’images et de signes tissent des phénomènes et des mystères, en tous points semblables à ceux du vaste univers qui nous englobe.

Les murs et l’espace d’exposition sont envahis par une juxtaposition de signes linéaires, aux configurations géométriques ou organiques. Réalisés principalement en tuyau de pvc gris, matériau pauvre, ces signes sont d’abord remarquables par l’inventivité des combinaisons formelles qui semblent infinie. Ces variations illogiques peuvent être envisagées comme des hiéroglyphes indéchiffrables, à la manière de certaines peintures de Paul Klee qui soulignent la proximité entre écrire et dessiner. Pour l’artiste, ces signes peuvent être aussi l’équivalent des dessins de constellations.

Honoré d’O, No Polliplan Tic tac space, les images (4)

Honoré dO, grisailles, drawing system

nf (gri-zâ-ll’, ll mouillées, et non grizâ-ye)
Peinture qui se fait avec du blanc et du noir, et qui représente des objets supposés blancs. Les grisailles sont une imitation du bas relief. Faire de la grisaille. Travailler en grisaille. Peindre en grisaille. Terme de peinture sur verre. Grisailles, verres peints en tons légers.Esquisses préparatoires où les couleurs locales ne sont point indiquées. Peinture ne comprenant que des tons gris.


Photos : Alain Alquien. Le Parvis CAC, Tarbes.

Honoré d’O, No Polliplan Tic tac space, les images (3)

(si le langage remplace le titre)

Ces objets, sculptures et volumes semblent pouvoir évoluer à leur gré et, se déployant ou se repliant sur eux-mêmes, envahissent de manière quasi organique l’ensemble de l’espace.  Honoré d’O compose ici une exposition comme il peindrait un « all-over » dans l’espace et se sert sans exclusive des murs, sols, plafonds et des objets les plus insolites  : rouleaux de papier toilette, tubes PVC, pinces à linge et pelles à tarte,  pour composer des oeuvres tentaculaires, ubuesques mais toujours poétiques.

Or, c’est dans ce labyrinthe – élaboré de façon empirique puisqu’il est toujours constitué des mêmes éléments arrangés, ré-arrangés et présentés en de nouvelles combinaisons – que le visiteur devra faire un choix d’un itinéraire s’il veut s’échapper de ce méandre contaminant. Pour cela, il est possible qu’il soit invité à participer ou qu’il ait à manipuler un sculpture, bouger un tube…
Car,  comme de coutume, l’exposition est conçue de manière vivante  et ludique, dans une interaction directe avec la déambulation/respiration du spectateur dans l’espace.

Magali Gentet


Photos : Alain Alquien. Le Parvis CAC, Tarbes.