{"id":1472,"date":"2021-06-06T14:18:38","date_gmt":"2021-06-06T12:18:38","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=1472"},"modified":"2024-08-03T09:01:01","modified_gmt":"2024-08-03T07:01:01","slug":"stefan-rinck","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/stefan-rinck\/","title":{"rendered":"Stefan Rinck"},"content":{"rendered":"\n
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Stefan Rinck<\/span><\/h2>\n

N\u00e9 \u00e0 Homburg\/Saar en 1973
Vit et travaille \u00e0 Berlin<\/p>\n

Les \ufb01gures de pierre de Stefan Rinck composent une population bigarr\u00e9e et comique, d\u2019animaux pour la plupart, chim\u00e8res ou monstres. Costum\u00e9s, masqu\u00e9s, dot\u00e9s d\u2019attributs, nomm\u00e9s d\u2019apr\u00e8s des h\u00e9ros de la mythologie grecque, ils composent une assembl\u00e9e de non-humains discordante mais parente : ils viennent d\u2019un autre monde, d\u2019un imaginaire archa\u00efque, tiss\u00e9 de mythes et de l\u00e9gendes. \u00c0 travers cette faune, l\u2019artiste explore une pratique typique du Moyen-\u00c2ge : la sculpture par taille directe de \ufb01gures de pierre.<\/p>\n

Son travail rappelle les personnages de l\u2019art roman qui animent les chapiteaux et les tympans d\u2019\u00e9glises. Il en a la morphologie et le style, l\u2019aspect hybride de la chim\u00e8re et du monstre. Ce sont des \ufb01gures grotesques, dans lesquelles on reconna\u00eet le comique vitaliste, typique du r\u00e9alisme m\u00e9di\u00e9val, qui s\u2019exprimait dans les processions bouffonnes, lors de f\u00eates religieuses et populaires. Si le Moyen-\u00c2ge colore l\u2019art de Stefan Rinck, ses r\u00e9f\u00e9rences se cristallisent autour de quelques obsessions \u00ab gothiques \u00bb, \u00e0 la mani\u00e8re romantique : un go\u00fbt pour la mythologie et les contes populaires, d\u2019\u00e9poques et de cultures diff\u00e9rentes, pour le fantastique ou les \ufb01gures de l\u2019hybris ou de la d\u00e9mesure.<\/p>\n

Les \u0153uvres de Stefan Rinck ont fait l\u2019objet de nombreuses expositions \u00e0 Ath\u00e8nes, Berlin, Bruxelles, Los Angeles, Madrid, Munich et Paris et font partie, entre autres, des collections du FRAC Corse, Corte (FR), du CBK Rotterdam (NL) et du Museum De Hallen, Haarlem (NL). En 2018, une \u0153uvre de Stefan Rinck (Les mangoustes de Beauvais, 2017) est install\u00e9e dans l\u2019espace public parisien de mani\u00e8re permanente au 53-57 rue de Grenelle (Beaupassage). En 2019, Stefan Rinck int\u00e8gre 100 Sculptors of Tomorrow, publi\u00e9 par Thames & Hudson.<\/p>\n

Citations :<\/p>\n

\u00ab L\u2019une de mes premi\u00e8res fascinations s\u2019est port\u00e9e sur la p\u00e9riode romane fran\u00e7aise. La plupart des sculpteurs de cette \u00e9poque \u00e9taient anonymes. Seuls certains d\u2019entre eux sont connus aujourd\u2019hui tel Gislebert, qui a sign\u00e9 ses sculptures. J\u2019ai \u00e9t\u00e9 fascin\u00e9 par son \u0153uvre et sa capacit\u00e9 \u00e0 pr\u00eater \u00e0 ses sculptures une certaine aura, une expressivit\u00e9 particuli\u00e8re, d\u2019une fa\u00e7on magique. Il n\u2019\u00e9tait pas question de recherche de perfection technique. Pourmoi, c\u2019est une sorte de primitivisme europ\u00e9en.  Lorsque l\u2019on parle de primitivisme, on pense toujours \u00e0 l\u2019art extra europ\u00e9en, mais j\u2019aime croire qu\u2019il y a eu un primitivisme europ\u00e9en. Ce fut l\u2019un de mes points de d\u00e9part. Mais bien s\u00fbr, beaucoup de mes personnages se rapprochent aussi de l\u2019art azt\u00e8que. \u00bb<\/p>\n

\u00ab Je suis \u00e9galement influenc\u00e9 par les formes cr\u00e9\u00e9es par les peintres modernes comme Mir\u00f3 ou Picasso. [\u2026] C\u2019esttoujours ainsi : les artistes du m\u00eame mouvement et de la m\u00eame \u00e9poque s\u2019empruntent mutuellement dans une sortede continuit\u00e9. Le d\u00e9fi est de poursuivre, de continuer, mais de pr\u00e9senter les choses d\u2019une nouvelle mani\u00e8re, de lesm\u00e9langer dans quelque chose de neuf peut-\u00eatre. \u00bb<\/p>\n

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Born in 1973. Lives and works in Berlin<\/em><\/p>\n

Stefan Rinck\u2019s stone \ufb01gures form a motley and comical community of, for the most part, animals, chimeras and monsters. They wear costumes and masks; are endowed with particular symbols or characteristics, some bear the names of heroes of Greek mythology or of legend. Rinck\u2019s sculpted \ufb01gures make up a discordant but related assembly of non-humans: they come from elsewhere, an archaic imaginary world, woven from myths and legends. With his collection of fauna, the artist is exploring a comical, imaginary yet realistic vein, breathing new life into its iconography, using a technique typical of the Middle Ages: sculpting his \ufb01gures directly from stone.<\/em><\/p>\n

Rinck\u2019s sculptures remind us of the \ufb01gures of Roman art, which populate the columns and tympana of churches. They share the same morphology and style, the hybrid aspect of the chimera and monster. These are grotesque \ufb01gures, in which we recognize the vitalist comedy typical of medieval realism which could be observed during the parades of jesters and buffoons at religious and popular festivities. Yet if the Middle Ages seem to color Rinck\u2019s art, its frame of reference in fact crystalizes around a number of \u201cGothic\u201d obsessions of the Romantic kind: a taste for mythology and folk tales, for different epochs and cultures for the fantastic or \ufb01gures of hubris and excess.<\/em><\/p>\n

Stefan Rinck\u2019s work has been subject to many exhibitions in Athens, Berlin, Brussels, Los Angeles, Madrid, Munich, Paris and features in the collections of the FRAC Corse, Corte (FR), the CBK Rotterdam (NL) and the Museum De Hallen, Haarlem (NL). In 2018, the work The mangust of Beauvais is installed permanently in the city of Paris at 53-57 rue de Grenelle (Beaupassage). In 2019, Stefan Rinck is part of the 100 Sculptors of Tomorrow published by Thames & Hudson.<\/em><\/p>\n

Quotes:<\/em><\/p>\n

\u201cOne of my early fascinations was for the French Romanesque period. Most of the sculptors of the time wereanonymous. Only a few of them are known today such as Gislebertus, who signed his sculptures. I was fascinatedby his work as he managed to lend his sculptures a certain aura, a particular expressiveness, in a magical kind of way. It wasn\u2019t a question of searching for technical perfection. For me it was a kind of European Primitivism. When we speak of primitivism, we always think of art from outside Europe, but I like to think that there was a European Primitivism. This was one of my starting points. But of course a lot of my figures are compared to Aztec art.\u201d<\/em><\/p>\n

\u201cI\u2019m also influenced by the forms used by modern painters like   Mir\u00f3 or Picasso. [\u2026] It has always worked like this;artists from the same movement or period borrow from one another in a kind of continuity. The challenge is tocontinue, to carry on, but to present things in a new way, mixing things into something new maybe.\u201d<\/em><\/p>\n

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> Retour Artistes 2021<\/strong><\/a><\/span><\/p>\n<\/div>\n\n\n\n

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Mistral Boys, 2021<\/strong>
Pierre calcaire
230 x 80 x 65 cm
Courtesy de l\u2019artiste, Sorry We\u2019re Closed<\/span><\/a>, Brussels et Semiose<\/span><\/a>, Paris<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Stefan Rinck N\u00e9 \u00e0 Homburg\/Saar en 1973Vit et travaille \u00e0 Berlin Les \ufb01gures de pierre de Stefan Rinck composent une population bigarr\u00e9e et comique, d\u2019animaux pour la plupart, chim\u00e8res ou monstres. Costum\u00e9s, masqu\u00e9s, dot\u00e9s d\u2019attributs, nomm\u00e9s d\u2019apr\u00e8s des h\u00e9ros de la mythologie grecque, ils composent une assembl\u00e9e de non-humains discordante mais parente : ils viennent …<\/p>\n

Stefan Rinck<\/span> Lire la suite \u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"disabled","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":""},"_links":{"self":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1472"}],"collection":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/comments?post=1472"}],"version-history":[{"count":6,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1472\/revisions"}],"predecessor-version":[{"id":3572,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1472\/revisions\/3572"}],"wp:attachment":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/media?parent=1472"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}