{"id":3272,"date":"2023-06-29T16:21:33","date_gmt":"2023-06-29T14:21:33","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=3272"},"modified":"2023-06-29T16:24:33","modified_gmt":"2023-06-29T14:24:33","slug":"petrit-halilaj-friends-of-chickens-2022","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/petrit-halilaj-friends-of-chickens-2022\/","title":{"rendered":"Petrit Halilaj-Friends of Chickens, 2022"},"content":{"rendered":"\n
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Petrit Halilaj<\/span>
Friends of Chickens, 2022<\/h2>\n

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Est-ce possible ? Est-il possible qu\u2019un oiseau ait travers\u00e9 la peinture et laiss\u00e9 des traces sur les trottoirs et dans les rues ? Les nombreuses empreintes d\u2019oiseaux semblent le sugg\u00e9rer ! Elles sont visibles partout. Ces vestiges, \u00e0 la fois surprenants et d\u00e9routants, suscitent la curiosit\u00e9. On se demande o\u00f9 m\u00e8nent les traces. On est enclin \u00e0 les suivre tout en se demandant quel animal \u00e0 plumes a pu laisser une telle trace \u2013 apr\u00e8s tout, les empreintes sont inhabituellement grandes.\u00a0<\/span><\/p>\n

En fait, les traces ne sont pas celles d\u2019un oiseau, mais sont l\u2019oeuvre de l\u2019artiste Petrit Halilaj. \u00c0 l\u2019aide d\u2019un pochoir et d\u2019une bombe de peinture, il a appliqu\u00e9 les empreintes sur diff\u00e9rentes surfaces, parfois seul, mais le plus souvent avec des amis, cr\u00e9ant ainsi un collectif. \u00c0 cet \u00e9gard, l\u2019oeuvre aborde la question de la peinture dans l\u2019espace public. Elle fait r\u00e9f\u00e9rence, directement ou indirectement, aux traditions de l\u2019histoire de l\u2019art du pass\u00e9 r\u00e9cent. L\u2019approche de Halilaj rappelle l\u2019utilisation d\u2019un pochoir par Blinky Palermo en 1969 pour peindre un triangle bleu sur un mur, \u00e9voquant \u00e0 la fois les efforts conceptuels et le langage formel du modernisme classique. Une autre r\u00e9f\u00e9rence pourrait \u00eatre la s\u00e9rie des Contes de f\u00e9es de Francis Al\u00ffs, produite par l\u2019activit\u00e9 de la marche, o\u00f9 des pistes sont trac\u00e9es ou des marques sont faites \u2013 parfois avec de la peinture, parfois avec le fil d\u00e9fait d\u2019un pull-over. L\u2019importance pour Halilaj de jouer avec l\u2019histoire de l\u2019art de mani\u00e8re consciente, sensible et largement humoristique est particuli\u00e8rement \u00e9vidente dans la forme ovo\u00efde du pochoir couleur laiton utilis\u00e9 pour cr\u00e9er les peintures d\u2019empreintes d\u2019oiseaux qui, lorsqu\u2019elles sont install\u00e9es sur un mur, semblent \u00eatre un hommage au Concetto spaziale<\/i>, La fine di Dio <\/i>de Lucio Fontana.\u00a0<\/span><\/p>\n

Par Moritz Weddeler\u00a0<\/span><\/p>\n

Petrit Halilaj est repr\u00e9sent\u00e9 par Mennour<\/a><\/p>\n

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“Can this be? Is it possible that a bird walked through paint and left tracks on the sidewalks and streets? The numerous bird footprints seem to suggest so! They are visible everywhere. These vestiges, both surprising and perplexing, arouse curiosity. They make you wonder where the tracks lead. One is inclined to follow them while pondering which feathered animal could have left such a trail \u2013 after all, the footprints are unusually large.\u00a0<\/span><\/em>\n

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In fact, the tracks are not those of a bird, but are the work of artist Petrit Halilaj. Using a stencil and spray paint, he applied the footprints to different surfaces, sometimes alone but more often with friends, hence creating a collective. In this regard, the work addresses painting in public space. It references, directly or indirectly, art historical traditions of the recent past. Halilaj\u2019s approach is reminiscent of Blinky Palermo\u2019s use of a stencil in 1969 to paint a blue triangle onto a wall, evoking both conceptual endeavors and the formal language of classical modernism. A further reference might be the Fairy Tales series by Francis Al\u00ffs, produced through the activity of walking, where tracks are laid or markings are made \u2013 sometimes with paint, sometimes with the unraveled thread of a sweater. The importance to Halilaj of playing with art history in a conscious, sensitive, and largely humorous way is most notably apparent in the egg-shaped form of the brass-colored stencil used to create the bird footprint paintings, which, when installed on a wall, seems like a homage to Lucio Fontana\u2019s Concetto spaziale, La fine di Dio. “<\/span><\/em><\/p>\n

By Moritz Weddeler\u00a0<\/span><\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

Petrit Halilaj is represented by Mennour<\/a><\/em><\/p>\n

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> Petrit Halilaj<\/a>
<\/a>> Retour Liste des \u0153uvres<\/a><\/strong><\/p>\n\n\n\n

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Friends of Chickens, 2022<\/strong><\/span>\u00a0<\/strong><\/span>
<\/span>Intervention in situ<\/i>, pochoir, peinture\u00a0
<\/span>Site specific intervention, stencil, paint<\/em>\u00a0<\/em>
<\/span>Dimensions variables \/ Variable dimensions\u00a0
<\/span><\/em>\u00a9 Petrit Halilaj.\u00a0
<\/span>Courtesy of the artist and Mennour, Paris<\/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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Petrit HalilajFriends of Chickens, 2022 \u00a0 Est-ce possible ? Est-il possible qu\u2019un oiseau ait travers\u00e9 la peinture et laiss\u00e9 des traces sur les trottoirs et dans les rues ? Les nombreuses empreintes d\u2019oiseaux semblent le sugg\u00e9rer ! Elles sont visibles partout. Ces vestiges, \u00e0 la fois surprenants et d\u00e9routants, suscitent la curiosit\u00e9. On se demande …<\/p>\n

Petrit Halilaj-Friends of Chickens, 2022<\/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":"","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\/3272"}],"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=3272"}],"version-history":[{"count":4,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/3272\/revisions"}],"predecessor-version":[{"id":3284,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/3272\/revisions\/3284"}],"wp:attachment":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/media?parent=3272"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}