{"id":26636,"date":"2023-05-28T11:46:23","date_gmt":"2023-05-28T09:46:23","guid":{"rendered":"http:\/\/pepinieres.eu\/sculptures-documentaires-de-pierre-larauza-le-carreau-du-temple\/"},"modified":"2023-11-21T16:16:43","modified_gmt":"2023-11-21T15:16:43","slug":"sculptures-documentaires-de-pierre-larauza-le-carreau-du-temple","status":"publish","type":"post","link":"http:\/\/pepinieres.eu\/en\/sculptures-documentaires-de-pierre-larauza-le-carreau-du-temple\/","title":{"rendered":"21 > 27.03.2023 | Documentary sculptures by Pierre Larauza (Fr) | Le Carreau du Temple (Fr)"},"content":{"rendered":"

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In his documentary sculptures project, Pierre Larauza questions the sporting gesture through art, linking history, homage and combat.<\/p>\n

Two works from the series (which Transcultures has been supporting for several years), February 20, 1998, Nagano<\/em> and October 20, 1968, Mexico<\/em> will be exhibited at the Carreau du Temple as part of the Jogging 2023 festival<\/a>.<\/p>\n

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Documentary sculptures<\/strong><\/h6>\n

With this research, the French artist develops a three-dimensional work deeply rooted in reality: a process that he qualifies as “documentary sculpture”. This critical work of investigation of reality takes the form of life-size historical reconstructions reproducing the trajectory of mass-mediatized physical movements that have particularly marked him: from a cult sporting gesture to a racist police blunder. Iconic movements symbols of invincibility, inventiveness, iniquity or even prohibition. According to a process of decomposition of the movement and a work of investigation (meeting of the protagonists, analysis of archives…), his works freeze in space-time an emblematic second of these events. Whether it is a record movement, a choreographic invention, a forbidden movement or a racist movement, these sculptures evolve over the course of the investigations carried out, transforming the works into processes and, conversely, these processes. in works.<\/p>\n

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Attached to the participatory dimension for some of his works, Pierre Larauza has, for example, created for the city of Brussels a lasting urban sculpture at the crossroads of art, sport and documentary. Inaugurated in September 2021 in the presence of Mike Powell, this artworks allows everyone to measure themselves against the excess of the long jump world record.<\/p>\n

Pierre Larauza is also involved in university research: his doctoral thesis in Art and Art Sciences thus questions the intersection between sculpture and a documentary approach. Through the hypothesis of a \u201cneo-factual plastic narrative\u201d, he analyzes the aesthetic and critical issues of such a three-dimensional practice of investigating reality.<\/p>\n

Pierre Larauza has also published on the spectatorial hybridity of dance in the museum (Geuthner, 2019) or on the syncretic approach of Cindy Sherman (Koregos, 2020). Speaking outside the Royal Academy of Fine Arts in Brussels (modules 2016 and 2018), he has also been involved since 2016 in a transcultural project in Vietnam whose ambition is to build a long-term base of experiences and of non-ethnocentric reflections. In this context, he gives installation and sculpture workshops at the University of Fine Arts in Ho Chi Minh City.<\/p>\n

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20 fe\u0301vrier 1998, Nagano<\/strong><\/h6>\n

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La sculpture documentaire “20 fe\u0301vrier 1998, Nagano” reconstitue grandeur nature le ce\u0301le\u0300bre saut pe\u0301rilleux arrie\u0300re de la patineuse artistique fran\u00e7aise Surya Bonaly lors des Jeux olympiques a\u0300 Nagano. Exploit qui, depuis, est devenu pour beaucoup l\u2019ico\u0302ne du combat d\u2019une femme, d\u2019une minorite\u0301 ou d\u2019une diffe\u0301rence. A noter que Surya Bonaly sera la marraine des ces prochains Championnats du Monde.<\/p>\n

Lors des jeux olympiques de 1998 a\u0300 Nagano, la patineuse franc\u0327aise Surya Bonaly de\u0301fe les membres du jury en effectuant un salto arrie\u0300re interdit en compe\u0301tition. Un mouvement prodigieux qu\u2019elle offre symboliquement au public. Bien qu\u2019en re\u0301alite\u0301, elle n\u2019enfreint pas le re\u0300glement en atterrissant sur une seule jambe, elle sera ne\u0301anmoins rele\u0301gue\u0301e a\u0300 la onzie\u0300me place du programme long. Depuis, aucun sportif, fe\u0301minin ou masculin n\u2019a re\u0301alise\u0301 cette figure extre\u0302me en compe\u0301tition.<\/p>\n

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Par ailleurs, Surya Bonaly reste la seule personne a\u0300 avoir accompli un saut pe\u0301rilleux arrie\u0300re en se re\u0301ceptionnant sur un seul pied, donnant son patronyme a\u0300 ce saut : le \u00ab Bonaly \u00bb. Ce mouvement qui clo\u0302turera sa carrie\u0300re de compe\u0301titrice est le geste symbolique d\u2019une athle\u0300te noire dans l\u2019un des sports les plus blanc qui soit. Un sport dans lequel elle n\u2019a jamais cesse\u0301 d\u2019essayer de repousser les limites mais ou\u0300 son style athle\u0301tique et sa musculature, marque\u0301s par ses origines de gymnaste, n\u2019e\u0301pousaient pas les canons de beaute\u0301 en vigueur a\u0300 l\u2019e\u0301poque dans le patinage artistique.<\/p>\n

Dans la ligne\u0301e des travaux du franc\u0327ais Etienne-Jules Marey ou du photographe britannique Eadweard Muybridge, ce\u0301le\u0300bres pour leurs recherches sur la de\u0301composition du mouvement, la conception de la sculpture 20 fe\u0301vrier 1998, Nagano a demande\u0301 une analyse extre\u0302mement pre\u0301cise du mouvement re\u0301alise\u0301 par Surya Bonaly. La trajectoire des patins a\u0300 glace a e\u0301te\u0301 de\u0301compose\u0301e en une se\u0301rie de positions dans l\u2019espace tridimensionnel (et dans le temps) avant d\u2019e\u0302tre mate\u0301rialise\u0301e a\u0300 nouveau au sein de l\u2019\u0153uvre.<\/p>\n

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Surya Bonaly<\/strong><\/p>\n

Surya Bonaly est une patineuse artistique n\u00e9e le 15 d\u00e9cembre 1973 \u00e0 Nice (Alpes-Maritimes). Elle a \u00e9t\u00e9 neuf fois championne de France en solo (de 1989 \u00e0 1997) et une fois championne de France en couple en 1989 et a remporter un multitude de prix internationnaux dont huit m\u00e9dailles mondiales (patinage artistique et tumbling confondus).<\/p>\n

lire aussi : 20 ans apr\u00e8s – 1991 : Surya Bonaly d\u00e9croche l\u2019or aux Championnats d\u2019Europe de patinage artistique<\/a><\/p>\n<\/blockquote>\n

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20 octobre 1968, Mexico<\/strong><\/h6>\n

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Le 20 octobre 1968 aux Jeux olympique de Mexico, un sauteur en hauteur d\u00e9joue les conventions en proposant un mouvement in\u00e9dit issu d\u2019une transgression presque chor\u00e9graphique. Apr\u00e8s concertation, les juges homologuent le saut. L\u2019am\u00e9ricain Dick Fosbury, 21 ans, est sacr\u00e9 champion olympique.<\/p>\n

Cette sculpture de mouvement, d\u00e9compose le geste de Fosbury et nous le laisse entrevoir dans toute sa complexit\u00e9 plastique. A noter que ce projet a \u00e9galement donner lieu \u00e0 une performance de <\/a>Pierre Larauza and Emmanuelle Vincent (t.r.a.n.s.i.t.s.c.a.p.e)<\/a>.<\/span><\/p>\n

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\"\"Pierre Larauza (Fr)<\/strong><\/h6>\n

Artistic director and co-founder of the Belgian-based contemporary dance company t.r.a.n.s.i.t.s.c.a.p.e<\/a> with the dancer and choreographer Emmanuelle Vincent. Since 2003, they have explored the movement through contemporary hybrid forms, crossing disciplines in a multicultural approach. Their performances and films have been performed or exhibited worldwide in more than 26 countries.<\/p>\n

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Currently Php student at Universit\u00e9 Libre de Bruxelles and Paris 1, his areas of study are \u201cArtistic practice of historical reenactment\u201d, \u201cChoreographic immersion in museums\u201d and what he calls \u201cDocumentary sculpture\u201d: his main research where he develops in sculpture the reenactments of historical body movements (sport movement or human interest stories).<\/p>\n

Larauza\u2019s first publication is currently being published: an article dedicated to the analysis the contemporary museum mutation through four choreographic variations experimented at the H\u00f4-chi-minh-city Museum of Fine Arts in Vietnam. A second article in progress is about the syncretic dimension that Cindy Sherman\u2019s Untitled Films Stills (1977-1980) maintains on several levels with cinema.<\/p>\n

Beside his creations and theoretical researches, Larauza is also co-founder of M\u00e1y xay sinh t\u1ed1, an interdisciplinary and transcultural laboratory based in Vietnam founded in 2016 with the artists Emmanuelle Vincent and Thy Nguyen Truong Minh in association with the University of Fine Arts in H\u00f4 Chi Minh City and more recently the art school ERG.<\/p>\n

Researcher, sculptor, set designer, choreographer, filmmaker or even performer, Larauza\u2019s roles intertwine and the concept of specialization gradually fades away to nourish his interest for in(ter)disciplinary approach. Hybridity imposes itself naturally in Larauza\u2019s practice and theoretical research.<\/p>\n

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pierrelarauza.net<\/a>
Check also
30 ao\u00fbt 1991, Tokyo – Pierre Larauza @ La Nuit Blanche Paris (Fr)<\/a>
<\/a>Des mouvements que je n\u2019aurais jamais pu faire \u2013 Pierre Larauza ! | Tour \u00e0 plomb (Be)<\/a>
<\/a>Focus t.r.a.n.s.i.t.s.c.a.p.e \u2013 Exposition + \u00e9v\u00e9nement \u2013 Jacques Franck (Be)<\/a><\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n<\/div>\n

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Infos<\/strong><\/p>\n