{"id":3814,"date":"2025-01-31T11:32:50","date_gmt":"2025-01-31T11:32:50","guid":{"rendered":"https:\/\/snoeck.process-vision.de\/shop\/martin-woehrl-from-nose-to-tail\/"},"modified":"2025-03-29T07:55:23","modified_gmt":"2025-03-29T07:55:23","slug":"martin-woehrl-from-nose-to-tail","status":"publish","type":"product","link":"https:\/\/snoeck.de\/fr\/shop\/martin-woehrl-from-nose-to-tail\/","title":{"rendered":"Martin W\u00f6hrl : du nez \u00e0 la queue"},"content":{"rendered":"<h3>Elephant in the Room<\/h3>\n<p>\"From Nose to Tail\" para\u00eet \u00e0 l'occasion de l'exposition individuelle \"Elephant in the Room\" de Martin W\u00f6hrl (*1974) au Kunstverein Ingolstadt (\u00e9t\u00e9 2020), dans laquelle ses \u0153uvres en b\u00e9ton occupaient une place de choix. Le titre provient toutefois de la gastronomie et d\u00e9signe le traitement le plus complet possible d'un animal, du filet \u00e0 la queue en passant par les abats. L'artiste s'y r\u00e9f\u00e8re parce qu'il accorde la m\u00eame valeur \u00e0 tous les mat\u00e9riaux partiels de ses sculptures et qu'il transforme \u00e9galement les chutes issues de sa production en combinaisons toujours nouvelles. Martin W\u00f6hrl, n\u00e9 \u00e0 Munich, construit ses sculptures en combinant de mani\u00e8re dialogique des morceaux de mat\u00e9riaux d'architectures r\u00e9elles, qu'elles soient sacr\u00e9es ou profanes, comme le linol\u00e9um et le laiton. Cela donne parfois l'impression qu'il cr\u00e9e des images de r\u00eave en spintant. Mais dans un premier temps, en accord avec la conviction esth\u00e9tique fondamentale d'une approche minimaliste du mat\u00e9riau, il a privil\u00e9gi\u00e9 le bois, le b\u00e9ton et le pl\u00e2tre, empil\u00e9 des cubes de b\u00e9ton les uns sur les autres, plac\u00e9 des cadres au mur ou plac\u00e9 des tubes dans la pi\u00e8ce. L'utilisation citationnelle d'\u00e9l\u00e9ments architecturaux issus de contextes sacr\u00e9s ou profanes, comme une rosace \"gothique\", a ensuite conduit \u00e0 des extensions dans lesquelles le minimalisme se heurte au brutalisme et o\u00f9 une adaptation troublante de l'appropriation historique semble avoir lieu.<\/p>","protected":false},"excerpt":{"rendered":"<p>Catalogue d'exposition, Kunstverein Ingolstadt<br \/>\nTexte (all.\/ang.) d'Alexander H\u00e4usler, Simone Schimpf<br \/>\n64 p. avec 40 illustrations en couleur<br \/>\nformat 24 x 20 cm, couverture 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