In the series Somewhere along the Atlantic Wall , initiated in 2010, Matthew Rosier student at the National Photographic High School in Arles takes as subject the particular topography of the Normandy region, marked by fighting and landings of World War II . At the physical monument that he captures - Landing Craft , bunker or bunker - then succeeds photography, which itself becomes monument by its ability to make visible what people do not see . It gives a view from a reality become immaterial, of the order of memory.
The acquisition of three images of this group is interesting in more than one way in the development of the photographic collection of the Réattu museum. It comes first develop a new perspective on links created with students of the National Photographic High School : the museum acquired several works of graduates over the past decade, Sun Yung Ha in 2004 Sterenn Donnio in 2012, but far only video. The acquisition of photographs, which is more of a current student curriculum is thus a first and emphasizes the attention of the museum to the emergence of young talent on the local art scene .
These photographs are also an interesting eccho to other images already present in the collections: the series des Forteresses du dérisoire by Jean-Claude Gautrand (1973-1974) , using also the blockhouse Atlantic Wall as subject . Although these photographs are part of a radically different aesthetic - the choice of black and white, powerful contrasts sharpened by intense light from the Landes or Camargue beaches - but express the same dual - identity of these structures in the landscape: the physical and memorial time.
Research on "photographic material" by Yves Trémorin leads him quite naturally to the electronic image. This is not a photograph ( which uses visible light : photon ) but a map of the sample scanned by an electron beam . We are in the field of particle retransmission instead of radiation.
Images by Yves Trémorin join in the collections of Réattu museum, those of other photographers in search of "non-photographic images " and / or wireless photographic device, such as Brassaï rayograms or Pierre Cordier chimigrammes. The essential difference is, that the images made by Yves Trémorin are created without air and especially without light, paradox in relation to the photograph even in the lexical perspective . The museum has selected two électronogrammes : Electronogramme # 1 ( fly ) and Electronogramme # 7 ( beetle / cloud ) . The philosophical dimension of these works refers us to the world of the Dutch Vanitas sense. Yves Trémorin speaks of death with the sleeping Fly, violent and brutal for the beetle .
Pascale Triol , is a true collector as much a real connoisseur of contemporary art. Visiting the Réattu museum during the summer of 2012 , she has the opportunity to see exhibited several works by Christine Crozat . Guided for some time by the idea of " divest " in his own words , a part of his collection his choice is the Réattu museum benefit. The bias of a tight selection and not a donation of all the works by Crozat she posess, soon became , to ensure consistency between the new parts and those already present in the museum's collections . Four works have been selected : two drawings and two sets of objects .
- The concept of vanity, which generally permeates the entire production of the artist, however, is never so clearly mentioned than in the skull , including the almost abstract design still leaving a large elasticity of interpretation, valuable for future displays in the museum:
- La Mule à hauteur de Leader Price, lost on a motorway to Chambéry , recalls how travel and movement are at the heart of her work , which feeds fleeting visions she tries following to transcribe in drawings between presence and absence.
- Les Sandales de saint Césaire, three in number - noting the absence of the last one, to better reveal their sacred character - back in the city that still retains preserves in the Archaeological Museum , the relics of the original sixth century bishop from Arles;
- Finally the Patins de Monsieur Van Eyck, who are in the same relation to the history of painting that the Coiffes d'Arlésiennes , also recall the interest of the artist to the Dutch painters : the importance of detail , taste still life and vanities .
The work of Jean -Baptiste Caron, recent winner of Boesner Young Creation prize , is entirely suspended in the dialectic between art and science.
In the work entitled The small attractor - the title refers directly to Grand attractor , a cluster of galaxies and materials constituted by attracting masses of the universe - the artist refers to an unusual mechanical effect resulting , according to him , the effects of gravity on his body every day, her navel accumulates fibers and dust producing small balls , which are even a scientific name : peluca umbilicus ( navel lint ) . He extracted one of these balls to make it rest on the bottom of a hole dug in a mass of concrete, where a set of mirrors creates the optical illusion of floating on its surface.
In another work between sculpture and installation , A l'aplomb des hauteur, the artist extends this questioning of gravity closer to the notion of verticality , which remains one of the first foundations of the physical relationship between man and the world. The work seems to pose as a material translation of this force on the ground using the plumb line, absolute instrument measuring straightness . Still playing on the dialectic of heavy and light - weight lead is here replaced by a weight due to dust accumulation, Jean-Baptiste Caron establishes a permanent connection between the macrocosm - the universe and its laws - and microcosm - the human body in what is most intimate and sensual.
Professor of sculpture and volume in the Nîmes fine arts scholl , used in trying out various techniques and materials choosen most often for their ability to change their states - liquid, solid , gas - Arnaud Vasseux knows perfectly classical rhetoric molding, positive / negative , inshape and outshape .
The idea of the mold, traditional technique of sculpture, is the source of a series of ten pieces, each edited a single copy produced at the International Center for Research on Glass and Plastic Arts in Marseille in 2011. Molded inside of the hand, these hollow glass refer equally to the tool of the master glassmaker that contain a primary gesture of respect in his hand : water escaping before being brought to mouth, sand flewing as symbol of the elapsed time, on which we have no control. Two different time then merge into a single object .
From a series whose elements can be presented individually or together , Land of Sand combines traditional know-how of film photography and advanced techniques of recording and digital printing. According to the film negative of a photograph of cloud she scans , she takes a very large image on which the artist blowing natural sand of the St. Lawrence River, near where she lives. White, black or red depending on collection sites, the sand is blown as does the wind acting on the material.
The composition photography / sand is then captured in high resolution on very large scanners , which give the scale paintings , to get the final image : the image of a design in principle ephemeral , recording full motion of a mobile body, fixed by digital printing.
With this acquisition , the museum continues his research on different forms of photography art, which is a major axis of the collection represented by other artists, like Corinne Mercadier or Dieter Appelt .
