Dans ses projets \u00e0 premi\u00e8re vue h\u00e9t\u00e9rog\u00e8nes, Philip Topolovac analyse les conditions dans lesquelles nous percevons la r\u00e9alit\u00e9 et s'interroge sur le sens que nous donnons \u00e0 ce que nous percevons. Qu'est-ce qui est r\u00e9el ? Qu'est-ce qui est historiquement conditionn\u00e9 ? Qu'est-ce que nous \u00e9valuons en fonction de sa valeur ? Notre monde est-il vraiment tel que nous avons appris \u00e0 nous le repr\u00e9senter ? Dans ce contexte, la naissance de l'art est un th\u00e8me qui, pour l'artiste, se d\u00e9roule avant tout dans la t\u00eate du spectateur - la perception en tant que projection et interpr\u00e9tation est un th\u00e8me central dans de nombreuses \u0153uvres. L'objectif de cette publication est donc de fixer le fil conducteur des travaux de Topolovac. Le monde comme mod\u00e8le, l'\u0153uvre d'art comme accessoire - cet aspect central dans son \u0153uvre se refl\u00e8te \u00e9galement dans la r\u00e9cente s\u00e9rie des \"Proph\u00e8tes\" (2025), dans laquelle des empreintes de visages \"extatiques\" de mod\u00e8les baroques en argile pour des figures de saints sont fa\u00e7onn\u00e9es en mod\u00e8les de t\u00eates r\u00e9alistes en polystyr\u00e8ne et en p\u00e2te \u00e0 modeler. Il a \u00e9galement reproduit en tant que sculpture une colonne de b\u00e9ton (2023) transform\u00e9e en fontaine et provenant du Biergarten du Berghain. Ces derni\u00e8res ann\u00e9es, Philip Topolovac a en outre r\u00e9ussi \u00e0 constituer une vaste collection d'objets d\u00e9truits par la guerre, qu'il a sauv\u00e9s de fouilles \u00e0 Berlin. Depuis la r\u00e9unification, les nombreuses friches d'apr\u00e8s-guerre situ\u00e9es le long du mur et dans le reste de la ville divis\u00e9e sont construites \u00e0 toute vitesse. Le boom immobilier n'ouvre alors qu'une petite fen\u00eatre temporelle sur un pass\u00e9 dramatique, d'o\u00f9 surgissent toujours des t\u00e9moignages des vastes destructions de Berlin pendant la guerre. Les sites contamin\u00e9s destin\u00e9s \u00e0 \u00eatre \u00e9limin\u00e9s sortent du sol comme de l'inconscient de la ville. L'\u0153uvre \"Orpheus\", une t\u00eate \u00e9rod\u00e9e par les intemp\u00e9ries que l'on peut voir comme une sculpture flottant dans un lac berlinois, provient d'un contexte similaire, bien qu'elle soit nettement plus r\u00eaveuse, et des arias de l'op\u00e9ra de Gluck \"Orfeo ed Euridice\" (1762) retentissent \u00e0 diff\u00e9rents intervalles. Chez Topolovac, la trag\u00e9die issue du mythe et de la r\u00e9alit\u00e9 se fond toujours en images surr\u00e9alistes de m\u00e9li-m\u00e9lo et symbolise ainsi la gen\u00e8se du livre.<\/p>\n
Lancement de livre : 18h30, 23.04.2026 Caf\u00e9 Dix, dans la Berlinische Galerie<\/p>","protected":false},"excerpt":{"rendered":"
Texte (allemand\/anglais) de Knut Ebeling, Christine Heidemann, Anne Waak ainsi qu'un entretien de Max Dax avec Alexander Kluge sur les terrains vagues berlinois
\n208 p. avec 195 illustrations couleur et 50 illustrations n\/b.
\nFormat 30 x 24 cm, reliure toile 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