{"id":3245,"date":"2023-06-25T18:47:06","date_gmt":"2023-06-25T16:47:06","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=3245"},"modified":"2023-06-25T18:47:06","modified_gmt":"2023-06-25T16:47:06","slug":"john-cornu-urbicande-2023","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/john-cornu-urbicande-2023\/","title":{"rendered":"John Cornu – Urbicande, 2023"},"content":{"rendered":"\n
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John Cornu<\/span>
Urbicande, 2023<\/strong><\/h2>\n

Ce travail de John Cornu \u00a0propose une structure orthonorm\u00e9e modulaire de facture industrielle, compos\u00e9e \u00e0 l\u2019aide de tubes et de connecteurs en acier, dont la forme n\u2019est pas sans rappeler les dispositifs anti-volatiles que l\u2019on peut trouver \u00e7\u00e0 et l\u00e0 dans les zones urbaines. Soient des syst\u00e8mes de herses coiff\u00e9es de pics comme autant de barri\u00e8res \u00e9rig\u00e9es pour dissuader les oiseaux de se poser, et qui en disent long sur la mani\u00e8re dont nous nous accaparons certains espaces et sur les relations autoritaires que nous \u00e9tablissons avec certaines cat\u00e9gories du vivant. On pourrait bien \u00e9videmment \u00e9largir la remarque aux mobiliers et agencements anti-SDF \u2013 autrement nomm\u00e9s architectures hostiles \u2013 ou aux rochers plac\u00e9s \u00e0 l\u2019entr\u00e9e de certains terrains vagues ou espaces verts pour en limiter l\u2019acc\u00e8s.\u00a0<\/span><\/p>\n

Tout en faisant r\u00e9f\u00e9rence \u00e0 l\u2019album mythique des Cit\u00e9s obscures <\/i>de Schuiten et Peeters, la famille de sculptures Urbicandes <\/i>d\u00e9but\u00e9es en 2008 par John Cornu conjugue un modernisme empreint de froideur avec une vis\u00e9e critique et coercitive.\u00a0<\/span><\/p>\n

Le geste tente ici de juxtaposer une esth\u00e9tique relativement brutaliste avec un paysage hautement pittoresque. Il s\u2019agit \u2013 entre autres \u2013 de nous faire r\u00e9fl\u00e9chir \u00e0 une possible accointance entre un espace dont l\u2019acc\u00e8s serait r\u00e9serv\u00e9\/ proscrit et un espace qui serait d\u2019ordre public, ou plus pr\u00e9cis\u00e9ment sur la valeur d\u2019usage de l\u2019espace public1 et de son partage. Cette structure autoritaire et invasive proc\u00e8de-t-elle d\u2019une forme exclusive, d\u2019une expropriation ? \u00c0 qui s\u2019adresse-t-elle ? Aux oiseaux ?\u00a0<\/span><\/p>\n

Le contexte historique, architectural et soci\u00e9tal de Saint-Paul-de-Vence tout comme les usagers du site \u2013 humains et volatiles \u2013 sont ici pens\u00e9s comme des constituants plastiques \u00e0 part enti\u00e8re. Alors si la r\u00e9f\u00e9rence \u00e0 l\u2019Art concret ou \u00e0 l\u2019Art minimal historique est certes assum\u00e9e, la pr\u00e9sence d\u2019une narration sourde \u00e0 laquelle s\u2019ajoute une attitude quasi documentaire portent n\u00e9cessairement un \u00e9clairage autre sur cette forme sculpturale de prime abord peu bavarde.\u00a0<\/span><\/p>\n

John Cornu est repr\u00e9sent\u00e9 par la Galerie Gilla L\u00f6rcher I Contemporary Art<\/a><\/p>\n

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This artwork shows a modular orthonormal structure of industrial design, composed by using steel tubes and connectors, whose shape is reminiscent of the anti-bird devices that can be found here and there in urban areas. These are systems of harrows topped with spikes, like so many barriers erected to dissuade birds from landing, and which say a great deal about the way in which we monopolize certain spaces and the authoritarian relationships we establish with certain categories of living things. We could, of course, extend this observation to anti-homeless furniture and fittings \u2013 otherwise known as hostile architectures \u2013 or to the rocks placed at the entrance to certain wastelands or green spaces to restrict access.\u00a0<\/span><\/em><\/p>\n

While referring to the mythical album Cit\u00e9s obscures by Schuiten and Peeters, the family of Urbicandes sculptures begun in 2008 by John Cornu combines a cold modernism with a critical and coercive intent.\u00a0<\/span><\/em><\/p>\n

The aim here is to juxtapose a relatively brutalist aesthetic with a highly picturesque landscape. The aim is \u2013 among other things \u2013 to make us think about a possible connection between a space1 to which access is reserved\/proscribed and a space that is public, or more precisely about the use value of public space and the way it is shared. Does this authoritarian and invasive structure stem from a form of exclusivity or expropriation? Who is it aimed at? The birds?\u00a0<\/span><\/em><\/p>\n

The historical, architectural, and societal context of Saint-Paul-de-Vence, as well as the site\u2019s users \u2013 humans and birds \u2013 are considered here as plastic components. So, while the reference to Concrete Art or Historic Minimal Art is certainly there, the presence of a muted narrative, combined with a quasi-documentary attitude, necessarily sheds a different light on this sculptural form, which at first glance is not very talkative.\u00a0<\/span><\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

John Cornu is represented by Galerie Gilla L\u00f6rcher I Contemporary Art<\/a><\/em><\/p>\n

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> John Cornu<\/a>
<\/a>> Retour Liste des \u0153uvres<\/a><\/strong><\/p>\n\n\n\n

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Urbicande, 2023<\/strong><\/span>\u00a0<\/strong><\/span>
<\/span>Tubes et modules en acier\u00a0
<\/span>Steel pipes and modules\u00a0
<\/span>Dimensions variables \/ Variable dimensions\u00a0
<\/span>Courtesy the artist and Galerie Gilla L\u00f6rcher I Contemporary Art, Berlin
Photos Fr\u00e9d\u00e9ric Pasquini – John Cornu<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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John CornuUrbicande, 2023 Ce travail de John Cornu \u00a0propose une structure orthonorm\u00e9e modulaire de facture industrielle, compos\u00e9e \u00e0 l\u2019aide de tubes et de connecteurs en acier, dont la forme n\u2019est pas sans rappeler les dispositifs anti-volatiles que l\u2019on peut trouver \u00e7\u00e0 et l\u00e0 dans les zones urbaines. Soient des syst\u00e8mes de herses coiff\u00e9es de pics …<\/p>\n

John Cornu – Urbicande, 2023<\/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":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","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\/3245"}],"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=3245"}],"version-history":[{"count":4,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/3245\/revisions"}],"predecessor-version":[{"id":3259,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/3245\/revisions\/3259"}],"wp:attachment":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/media?parent=3245"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}