Lorsque Thomas Feuerstein (n\u00e9 en 1968) est interrog\u00e9 sur son \u0153uvre foisonnante, dans laquelle il est question de biologie, de litt\u00e9rature, d'histoire de l'art, de philosophie, de m\u00e9decine, de cybern\u00e9tique, de religion, de sexe, d'\u00e9conomie et de m\u00e9dias de masse, ainsi que des effets de la biopolitique sur l'individu et du r\u00eave de l'\u00e9ternelle jeunesse, il aime r\u00e9pondre par \u00e9crit par une d\u00e9claration litt\u00e9raire. Et l'\u00e9num\u00e9ration t\u00e9m\u00e9raire de son \u0153uvre ressemble alors d'autant plus \u00e0 une th\u00e9orie litt\u00e9raire complexe de la vie r\u00e9elle, car il r\u00e9pond lui-m\u00eame par un r\u00e9cit aventureux, comme son histoire \"Plus ultra. Le projet d'Hercule\". Thomas Feuerstein y d\u00e9crit le boxeur, \u00e9diteur de magazines, dada\u00efste et dandy Arthur Cravan et s'int\u00e9resse ainsi \u00e0 un personnage des ann\u00e9es 1920 qui, plus r\u00e9cemment, quelque 60 ans plus tard, hante le r\u00e9cit de l'histoire de la pop en tant qu'idole et alimente en quelque sorte le mythe de l'antih\u00e9ros anarchique. Cette image litt\u00e9raire n'est toutefois qu'une parabole pour le mod\u00e8le de Feuerstein des machines et des bior\u00e9acteurs avec lesquels l'art est produit dans un sens tout \u00e0 fait classique, par exemple avec un automatisme d'\u00e9criture emprunt\u00e9 \u00e0 la fameuse \"\u00c9criture automatique\" des surr\u00e9alistes, mais qui repose chez lui sur la notation des fluctuations de cours. \u00c0 c\u00f4t\u00e9 de cela, l'organique, les enzymes et les catalyseurs, forment des sculptures mol\u00e9culaires et donc une processualit\u00e9 qui donne lieu \u00e0 des manifestes comme on n'en conna\u00eet que dans l'histoire de l'art. Son concept de forme, dit l'artiste, \"n'a pas grand-chose \u00e0 voir avec une notion classique de sculpture. Le mat\u00e9riau, y compris ses structures mol\u00e9culaires et les processus et transformations qui y sont li\u00e9s, joue un r\u00f4le sp\u00e9cifique. Je ne vois pas la forme comme un terme oppos\u00e9 \u00e0 la mati\u00e8re, mais comme une structure qui peut prendre diff\u00e9rentes formes et figuration\".<\/p>\n
Exposition :
\nKunsthalle Krems, 18\/11\/2012 - 10\/2\/2013<\/p>","protected":false},"excerpt":{"rendered":"
Catalogue d'exposition, Kunsthalle Krems, \u00e9d. Hans-Peter Wipplinger
\nTextes (all.\/ang.) d'Elisabeth Bronfen, Candyman, Gerhard J. Lischka, Astrid Mania et avec une interview de Sabeth Buchmann avec Thomas Feuerstein
\n368 p. avec 250 illustrations en couleur
\nformat 28 x 21,5 cm, couverture 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