{"id":219,"date":"2019-03-21T19:31:16","date_gmt":"2019-03-21T18:31:16","guid":{"rendered":"http:\/\/dev.carolefekete.com\/?page_id=219"},"modified":"2025-12-03T11:36:01","modified_gmt":"2025-12-03T10:36:01","slug":"lille","status":"publish","type":"page","link":"https:\/\/www.carolefekete.com\/en\/lille\/","title":{"rendered":"Palais des beaux-arts de Lille"},"content":{"rendered":"

In 2015, I was invited to present my work in the rooms of the permanent collection of the Fine Arts Museum in Lille (France). Six projects were selected:\u00a0Le Christ<\/em>\u00a0(1992-2000),\u00a0Les pierres tombales<\/em> (2006),\u00a0La table<\/em> (2003),\u00a0Plaques sensibles<\/em>\u00a0(2009),\u00a0Rubik\u2019s Cube<\/em>\u00a0(2010) and\u00a0Nuancier<\/em>\u00a0(2014). The installations in the museum rooms shown below are the ones which could be rendered by photography, all were not \"photogenic\".\u00a0But each subject matter was unique, and the group of the six projects unveils my interest for painting, for the notion of tableau, and for the two-dimensional representation in relation to the museum space and its collection.<\/p>\n\n\n\n

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Rubik\u2019s Cube<\/em>, set of 6 images, inkjet prints, 100 x 100 cm x 6<\/p>\n\n\n\n

\u00c0 l\u2019origine, ce cube fut invent\u00e9 par un sculpteur pour ses \u00e9tudiants en architecture. Il servait \u00e0 appr\u00e9hender et \u00e0 manipuler concr\u00e8tement les diverses dimensions de l\u2019espace. Ici d\u00e9pli\u00e9 et mis \u00e0 plat, il illustre ce que toute image r\u00e9alise : le passage de trois \u00e0 deux dimensions.<\/p>\n\n\n\n

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La table<\/em>, analog photography, 210 x 176 cm<\/p>\n\n\n\n

An emblem of family reunions, this table surrounded by its chairs is considered here as a motif. Freed from its function, it can admit other representations, other images, which can echo each other in the free-play of association or analogy.<\/p>\n\n\n\n

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Les pierres tombales<\/em>, 2006, series of 9 photographs, inkjet print, high 80, length variable.<\/p>\n\n\n\n

For this series of headstones, the shooting reflected the shape of the object given that these smooth surfaces dictate the manner in which they would be framed. These pictures minimize the divergence between the object and its representation. These marble surfaces have been eroded in a manner which echoes the process of analogic photography; a relation is established between the nature of the object and the way in which it can be registered.<\/p>\n\n\n\n

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Le Christ<\/em>, trytich, after Philippe de Champaigne, analog photography, 93 x 135 cm x 3<\/p>\n\n\n\n

Ce projet, initi\u00e9 au d\u00e9but des ann\u00e9es 1990 \u00e0 partir du d\u00e9tail d\u2019une toile de Philippe de Champaigne, aboutit une dizaine d\u2019ann\u00e9es plus tard. Partant de l\u2019h\u00e9ritage pictural et de l\u2019image chr\u00e9tienne en regard de la photographie, il soul\u00e8ve une interrogation autour de la nature du visible, \u00ab voir \u00bb optique et\/ou anthropologique que constitue la vision. Un dialogue s\u2019engage entre la mat\u00e9rialit\u00e9 de la peinture qui produit sa propre lumi\u00e8re et celle de la photographie qui elle l\u2019enregistre.<\/p>\n\n\n\n

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Plaques sensibles<\/em>, 2009, s\u00e9rie de 12 images, impressions pigmentaire, 24 x 30 cm<\/p>\n\n\n\n

These boxes for photographic plates evoke the history of photography and the fantasy of a mechanical image. The lids of these reliquaries of light toy with evocations of speed, truth, perfection, sensitivity or cartographic optics in a glowing lexicon which is reflected by their jaunty graphic design.<\/p>\n\n\n\n

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Nuancier<\/em>, 2014, inkjet print, scale 1:1, 34 x 131 cm<\/p>\n\n\n\n

This second hand color chart borrowed from a neighbourhood haberdashery is reproduced at its original scale. Everyday tool which doubles as an emblem of a great pictorial tradition, this colorful palette spans the whole range of the delicate shades which can elicit pleasure for our eyes.<\/p>\n\n\n\n

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En 2015, j\u2019ai \u00e9t\u00e9 invit\u00e9e \u00e0 montrer mon travail dans les salles des collections permanentes du mus\u00e9e des beaux-arts de Lille. Six projets photographiques ont \u00e9t\u00e9 retenus : Le Christ (1992-2000), Les pierres tombales (2006), La table, 2003, la s\u00e9rie des Plaques sensibles (2009), le Rubik\u2019s Cube (2010) et le Nuancier (2014). Les vues d\u2019exposition montr\u00e9es […]<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"footnotes":""},"class_list":["post-219","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.carolefekete.com\/en\/wp-json\/wp\/v2\/pages\/219","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.carolefekete.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.carolefekete.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.carolefekete.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.carolefekete.com\/en\/wp-json\/wp\/v2\/comments?post=219"}],"version-history":[{"count":28,"href":"https:\/\/www.carolefekete.com\/en\/wp-json\/wp\/v2\/pages\/219\/revisions"}],"predecessor-version":[{"id":2174,"href":"https:\/\/www.carolefekete.com\/en\/wp-json\/wp\/v2\/pages\/219\/revisions\/2174"}],"wp:attachment":[{"href":"https:\/\/www.carolefekete.com\/en\/wp-json\/wp\/v2\/media?parent=219"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}