Interrog\u00e9 sur ses r\u00e9f\u00e9rences, ses ressources, lors d'un entretien avec Bob Nikas en janvier de l'ann\u00e9e derni\u00e8re, Adam Helms (*1974), \u00e9tudiant chez Mel Bochner, fait r\u00e9f\u00e9rence \u00e0 de multiples sources, comme des portraits tir\u00e9s du magazine des mercenaires \"Soldier of Fortune\", des collages de John Heartfield, le g\u00e9n\u00e9rique des films de la Paramount, avec les vues d'un g\u00e9ant de la montagne qui ne diff\u00e8rent que tr\u00e8s peu les unes des autres pendant de nombreuses ann\u00e9es, comme base du logo de la Paramount, les \"48 portraits\" de Gerhard Richter, ce travail pour la Biennale de Venise de 1972, aujourd'hui accroch\u00e9 au Mus\u00e9e Ludwig de Cologne, qui rassemble 48 portraits en noir et blanc de scientifiques et d'hommes de culture depuis le si\u00e8cle des Lumi\u00e8res, ou les pochettes de disques d'un label noise du Michigan, qui porte le beau nom de \"Gods of Tundra\". Dans le m\u00e9dium du dessin, au crayon comme au fusain, Adam Helms puise dans l'observation de telles sources et travaille \u00e0 son tour sur des s\u00e9ries de portraits, des paysages ou des murs d'affiches sur des th\u00e8mes historiques. Ce qui l'int\u00e9resse particuli\u00e8rement dans ces sources, c'est la mani\u00e8re dont les individus veulent se repr\u00e9senter eux-m\u00eames ou leur sujet, comment \"l'innommable\", quelle typologie s'empare de ces tentatives d'autorepr\u00e9sentation. Pour Adam Helms, c'est l'entr\u00e9e en mati\u00e8re \u00e9motionnelle : en fixant dans son propre travail le pathos immanent aux sources, il p\u00e9n\u00e8tre les sources et peut mettre en \u00e9vidence les obsessions qui les sous-tendent. En fin de compte, souligne-t-il, l'art am\u00e9ricain contemporain ne peut pas se passer de propagande, sauf que dans ses citations, il ne veut pas reconna\u00eetre le statu quo de la culture am\u00e9ricaine, le \"spectacle de la guerre\". Il s'int\u00e9resse donc d'autant plus \u00e0 montrer l'espace o\u00f9 l'ombre et la lumi\u00e8re se rencontrent, qu'il s'agisse d'une soupe primitive ou d'une position de front. Le pr\u00e9sent ouvrage pr\u00e9sente pour la premi\u00e8re fois les travaux d'Adam Helms, dont l'actualit\u00e9 n'a gu\u00e8re chang\u00e9, de mani\u00e8re exhaustive, dans une s\u00e9quence et sous une forme dont l'artiste s'est charg\u00e9 lui-m\u00eame.<\/p>\n
Expositions :
\nGrimm Gallery Amsterdam, 28\/5 - 9\/7\/2011
\nMarianne Boesky Gallery New York, 7\/9 - 5\/10\/2014<\/p>","protected":false},"excerpt":{"rendered":"
Texte (eng.) de William Smith et une interview (eng.) de Bob Nickas avec Adam Helms
\n200 p. avec 280 illustrations en couleur
\nformat 30 x 24 cm, couverture 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