{"id":1475,"date":"2021-06-06T14:24:55","date_gmt":"2021-06-06T12:24:55","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=1475"},"modified":"2024-08-03T09:02:32","modified_gmt":"2024-08-03T07:02:32","slug":"kevin-rouillard","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/kevin-rouillard\/","title":{"rendered":"Kevin Rouillard"},"content":{"rendered":"\n
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Kevin Rouillard<\/span><\/h2>\n

N\u00e9 \u00e0 Vend\u00f4me en 1989
Vit et travaille \u00e0 Marseille<\/p>\n

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Kevin Rouillard est dipl\u00f4m\u00e9 avec les f\u00e9licitations du jury de l’Ecole Nationale Sup\u00e9rieure des Beaux-Arts de Paris en 2014. En 2015, il remporte le prix de la Fondation Fran\u00e7ois de Hatvany.<\/p>\n

Ses oeuvres ont \u00e9t\u00e9 montr\u00e9es aux Abattoirs, FRAC Midi-Pyr\u00e9n\u00e9es, Toulouse, pour l’exposition Autour du Nouveau R\u00e9alisme, Les dadas des Daniel<\/em>. En 2017 : des expositions personnelles \u00e0 l’Assaut de la menuiserie<\/em>, Saint-Etienne ainsi qu’\u00e0 The Chimney<\/em>, New-York, et une exposition collective hors les murs du Centre d’Art Parc Saint L\u00e9ger. En 2018, la Junqueira Artists Residency l’accueille \u00e0 Lisbonne donnant lieu \u00e0 deux expositions personnelles.<\/p>\n

Plus r\u00e9cemment, \u00e0 la suite du prix SAM Art Projects re\u00e7u en 2018, le Palais de Tokyo abrite en 2020 son exposition personnelle Le Grand Mur<\/em>, tandis que la galerie Thomas Bernard ouvre, dans le m\u00eame temps, son exposition Soudure et Mayonnaise<\/em>.<\/p>\n

Comme l\u2019\u00e9crit Annabelle Teneze, Kevin Rouillard se pr\u00e9sente comme un artiste sans atelier, donc sans lieu de travail autonome, et comme un artiste manuel, un artiste ouvrier :
\u00ab Chez Kevin Rouillard, ce rapport complexe entre cr\u00e9ation et production, leur dissemblance ou au contraire leur proximit\u00e9, semble s\u2019\u00eatre exprim\u00e9 dans deux voies de recherche diff\u00e9rentes, d\u2019un c\u00f4t\u00e9 dans le processus de r\u00e9alisation manufacto<\/em>, appuy\u00e9 chez lui sur la lenteur et le labeur, et, de l\u2019autre, dans les modalit\u00e9s de pr\u00e9sentation des \u0153uvres, des siennes, des artistes qui lui sont contemporains, de ceux qui lui sont ant\u00e9rieurs, de ceux qui ne savent pas qu\u2019ils produisent de l\u2019art. \u00bb<\/p>\n

La pratique de Kevin Rouillard se situe \u00e0 la crois\u00e9e de plusieurs domaines : la cr\u00e9ation plastique, l\u2019installation-architecture, le design, le commissariat et la sc\u00e9nographie d\u2019exposition.<\/p>\n

En 2016, l\u2019artiste s\u2019installe pour plusieurs mois son atelier dans une galerie ferm\u00e9e de Bordeaux o\u00f9 \u00e9taient stock\u00e9es des \u0153uvres des ann\u00e9es 1960 issues des affiches lac\u00e9r\u00e9es de l\u2019artiste du Nouveau R\u00e9alisme Jacques Vill\u00e9gl\u00e9. Par impr\u00e9gnation peut-\u00eatre, la premi\u00e8re s\u00e9rie des \u00ab T\u00f4les\/chocs \u00bb qu\u2019il y produit, fait un \u00e9tonnant \u00e9cho \u00e0 la frontalit\u00e9 urbaine et color\u00e9e des \u0153uvres du \u00ab lac\u00e9rateur anonyme \u00bb, mais aussi \u00e0 leur frontalit\u00e9 dangereuse, celle du r\u00e9sultat de la violence d\u2019un geste : celui d\u2019arracher d\u2019un c\u00f4t\u00e9, qui devient ici celui de marteler. Dans un syst\u00e8me d\u2019\u00e9quivalence des valeurs, le bidon vaut la toile, l\u2019acte de peindre le martelage.<\/p>\n

L\u2019artiste en travailleur reproduit l\u2019action physique, m\u00e9canique et r\u00e9p\u00e9titive d\u2019un artisan, pour r\u00e9aliser l\u2019une des formes les plus conceptuelles de l\u2019art du 20e si\u00e8cle, la peinture monochrome. Bien que l\u2019artiste choisisse cette forme historique par excellence de l\u2019abstraction, sans occulter certaines \u00e9vidences des r\u00e9f\u00e9rences des couleurs qu\u2019il emploie, comme dans l\u2019\u0153uvre Jaune<\/em>, couleurs et formats des monochromes se retrouvent n\u00e9anmoins conditionn\u00e9s par les disponibilit\u00e9s commerciales, celles de la production industrielle des bidons.<\/p>\n

Dans un chemin \u00e0 l\u2019envers, vers une qu\u00eate des origines, une fois la forme ronde aplanie par les roues du tracteur, le m\u00e9tal est en effet rendu \u00e0 l\u2019\u00e9tat de plaque apr\u00e8s un martelage uniforme et patient, dont les \u0153uvres gardent la marque \u00e0 la fois r\u00e9p\u00e9titive et irr\u00e9guli\u00e8re. Les stigmates de la duret\u00e9 du martelage tout comme les soudures des assemblages, y restent visibles, comme une gr\u00eale, comme une cicatrice, comme une r\u00e9paration.<\/p>\n

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Kevin Rouillard graduated with honours from ENSBA in Paris in 2014. In 2015 he won the Fran\u00e7ois de Hatvany Foundation prize.<\/em><\/p>\n

His work has been shown at the Abattoirs, FRAC Midi-Pyr\u00e9n\u00e9es, Toulouse, for the exhibition Autour du Nouveau R\u00e9alisme, Les dadas des Daniel. In 2017: solo exhibitions at l’Assaut de la menuiserie, Saint-Etienne as well as at The Chimney, New-York, and a group exhibition outside the walls of the Parc Saint L\u00e9ger Art Centre. In 2018, the Junqueira Artists Residency welcomed her to Lisbon, resulting in two solo exhibitions.<\/em><\/p>\n

More recently, following the SAM Art Projects award received in 2018, the Palais de Tokyo is hosting his solo exhibition Le Grand Mur in 2020, while the Thomas Bernard Gallery is opening at the same time, his exhibition Soudure et Mayonnaise.<\/em><\/p>\n

As Annabelle Teneze writes, Kevin Rouillard presents himself as an artist without a studio, and therefore without an autonomous workplace, and as a manual artist, a working artist.<\/em>
“In Kevin Rouillard’s work, this complex relationship between creation and production, their dissimilarity or, on the contrary, their proximity, seems to have been expressed in two different avenues of research, on the one hand in the process of manufacturing, which in his case is based on slowness and labour, and, on the other, in the ways in which works are presented, his own works, those of his contemporaries, those of artists who came before him, and those who do not know that they are producing art.<\/em><\/p>\n

Kevin Rouillard’s practice lies at the crossroads of several fields: plastic creation, installation-architecture, design, curating and exhibition scenography.<\/em><\/p>\n

In 2016, he set up his studio for several months in a closed gallery in Bordeaux where works from the 1960s were stored from the lacerated posters of the New Realism artist Jacques Vill\u00e9gl\u00e9. Perhaps by impregnation, the first series of “T\u00f4les\/chocs” that he produced there echoed the urban and colourful frontality of the works of the “anonymous lacerator”, but also their dangerous frontality, that of the result of the violence of a gesture: that of tearing off on one side, which here becomes that of hammering. In a system of equivalence of values, the can is worth the canvas, the act of painting the hammering.<\/em><\/p>\n

The artist as worker reproduces the physical, mechanical and repetitive action of a craftsman, to achieve one of the most conceptual forms of 20th century art, monochrome painting. Although the artist chooses this historical form par excellence of abstraction, without obscuring certain obvious references to the colours he employs, as in the work Jaune, the colours and formats of the monochromes are nonetheless conditioned by commercial availability, those of the industrial production of cans.<\/em><\/p>\n

In a backward path, towards a quest for origins, once the round shape has been flattened by the tractor wheels, the metal is in fact returned to the state of plate after a uniform and patient hammering, of which the works keep the mark, both repetitive and irregular. The stigmata of the hardness of the hammering, like the welds of the assemblies, remain visible, like a hail, like a scar, like a repair.<\/em><\/p>\n

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

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Jaune, 2021<\/strong>
Bidon, Acier
195 x 305 x 5 cm
Courtesy de l\u2019artiste ADAGP et de la Galerie Thomas Bernard<\/span><\/a><\/span><\/p>\n\n\n\n

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Kevin Rouillard N\u00e9 \u00e0 Vend\u00f4me en 1989Vit et travaille \u00e0 Marseille   Kevin Rouillard est dipl\u00f4m\u00e9 avec les f\u00e9licitations du jury de l’Ecole Nationale Sup\u00e9rieure des Beaux-Arts de Paris en 2014. En 2015, il remporte le prix de la Fondation Fran\u00e7ois de Hatvany. Ses oeuvres ont \u00e9t\u00e9 montr\u00e9es aux Abattoirs, FRAC Midi-Pyr\u00e9n\u00e9es, Toulouse, pour l’exposition …<\/p>\n

Kevin Rouillard<\/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\/1475"}],"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=1475"}],"version-history":[{"count":6,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1475\/revisions"}],"predecessor-version":[{"id":3573,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1475\/revisions\/3573"}],"wp:attachment":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/media?parent=1475"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}