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<\/p>\n L’objet et le monument fun\u00e9raires revisit\u00e9s par des artistes contemporains.<\/p>\n <\/p>\n Vernissage le vendredi 1er novembre d\u00e8s 18 heures, simultan\u00e9ment \u00e0 FORDE et au parc du Seujet (promenade de St-Jean) non loin de Forde.<\/p>\n <\/p>\n Projection du film de Gianni Motti: \u00ab\u00a0Entierro n\u00b01\u00a0\u00bb (1989)\u00a0au cin\u00e9ma Spoutnik le 1er novembre, de 18h \u00e0 20h.<\/p>\n <\/p>\n<\/div>\n <\/p>\n <\/p>\n <\/p>\n COMMUNIQUE DE PRESSE<\/strong><\/p>\n Proposer \u00e0 des artistes de l’art contemporain de produire des pi\u00e8ces relevant de l’art fun\u00e9raire tient de la gageure tant ces deux domaines, avant \u00e9troitement li\u00e9s, sont aujourd’hui peu redevables l’un de l’autre.<\/p>\n <\/p>\n La s\u00e9pulture, apparue r\u00e9cemment dans l’histoire de l’homme il y a 100 000 ans, indice d’un d\u00e9veloppement psychique qui se complexifie, est une source privil\u00e9gi\u00e9e d’informations sur le fonctionnement et les valeurs des soci\u00e9t\u00e9s \u00e9tudi\u00e9es que ce soit pour l’historien, l’arch\u00e9ologue, l’ethnographe ou encore l’anthropologue. Mais que pourraient divulguer les reliques d’un cimeti\u00e8re de ce d\u00e9but de XXI\u00e8me si\u00e8cle aux chercheurs du futur sur notre civilisation ? Vraisemblablement peu de choses, sauf \u00e0 voir dans le symbolisme surann\u00e9, presque anachronique \u2013 qu’il soit religieux ou non \u2013 convoqu\u00e9 par les vivants pour leurs morts la manifestation d’une soci\u00e9t\u00e9 occidentale s\u00e9cularis\u00e9e et spirituellement d\u00e9sinvestie. Si depuis la nuit des temps les plus belles r\u00e9alisations fun\u00e9raires ont aussi \u00e9t\u00e9 artistiques, aujourd’hui la place est occup\u00e9e par un march\u00e9 de la mort juteux, r\u00f4d\u00e9 et largement standardis\u00e9, fig\u00e9 dans une esth\u00e9tique d\u00e9pass\u00e9e flirtant avec le kitsch.<\/p>\n <\/p>\n L’art d\u00e9sormais absent du cimeti\u00e8re, POST MORTEM convoque l’entreprise fun\u00e9raire dans le champs de l’art en invitant une vingtaine d’artistes \u00e0 en faire leur objet de travail. Par son caract\u00e8re incontournable, appartenant aussi bien au monde des morts et que des vivants, le cimeti\u00e8re, ses monuments et rituels, restent un marqueur soci\u00e9tal fondamental, et constituent en ce sens une piste f\u00e9conde pour l’art comme pour l’exposition. Mis en parall\u00e8le ces deux univers se font de plus \u00e9cho, partageant lieux d\u00e9di\u00e9s, objets f\u00e9tiches et\/ou m\u00e9moriels et caract\u00e8re performatif des rituels.<\/p>\n <\/p>\n La filiation qui a pu relier le temple, le monument mortuaire et le mus\u00e9e, tant d’un point de vue architectural que fonctionnel \u2013 l’\u00e9vocation d’une figure, la conservation d’une m\u00e9moire – s’estompe aujourd’hui avec la capacit\u00e9 du mus\u00e9e contemporain \u00e0 se r\u00e9inventer avec l’outil de l’exposition.<\/p>\n <\/p>\n Pour y r\u00e9pondre, POST MORTEM prend place dans deux contextes oppos\u00e9s et compl\u00e9mentaires. L’espace de Forde, pour lequel l’artiste Fabian Marti a con\u00e7u le display de l’exposition, un autel monumental sur lequel viennent s’inscrire les oeuvres, conf\u00e9rant \u00e0 l’ensemble la force de la solennit\u00e9, et le parc du Seujet permettant de rejouer le contexte ext\u00e9rieur d’un cimeti\u00e8re \u00e0 l’anglaise sur le terrain de l’art dans l’espace public.<\/p>\n <\/p>\n Les oeuvres nous invitent pour leur part \u00e0 penser notre rapport \u00e0 la mort et sa mat\u00e9rialisation, juxtaposant \u00e0 la vision occidentale marqu\u00e9e par le positivisme, des pratiques issues du chamanisme ou des \u00e9l\u00e9ments symboliques tir\u00e9s de r\u00e9cits de science fiction.<\/p>\n <\/p>\n <\/p>\n PRESS RELEASE<\/strong><\/p>\n Giving contemporary artists an opportunity to produce works related to funerary art is certainly a challenge, as these two fields, once closely tied, seem nowadays to have little in common.<\/p>\n <\/p>\n The burial place, grave or tombstone, appeared relatively recently in human history, a mere 100’000 years ago. Providing insights into the growing complexity of psychological development it is a preferred source of information on the workings and values of the society one studies, be it for historians, archeologists, ethnographers or anthropologists. But what could relics of a cemetery of this beginning of the 21st century reveal about our civilization if they were to be studied by the researchers of the future? Possibly very little, lest one considers the outdated, nearly anachronistic symbolism \u2013 religious or not \u2013 summoned by the living for their dead as a clear manifestation of a secularized and spiritually disinvested western society. Since the dawn of time, the most beautiful funerary productions have also been artistic realizations. But today the place is occupied by a well-oiled, largely standardized and very lucrative ‘death market’, frozen into obsolete aesthetics that flirt with kitsch.<\/p>\n <\/p>\n Art being henceforth absent in today’s cemetery, Post Mortem summons the funerary process into the field of art by inviting around 20 artists to make this the subject of their work. By its unavoidable character that belongs to the world of the dead as much as to that of the living, the cemetery, its monuments and rituals, remains a fundamental social marker and thus provides a fruitful lead for art as well as for the exhibition. Once paralleled, these two universes will echo one another by sharing dedicated locales, fetish and\/or memorial objects and the performative character of rituals.<\/p>\n <\/p>\n The filiation that may once have related the temple, the mortuary monument and the museum, from an architectural as much as a functional viewpoint \u2013 evocation of a figure, conservation of a memory \u2013 is receding today behind the contemporary museum’s capacity to reinvent itself along with the exhibition tool.<\/p>\n <\/p>\n To answer this, Post Mortem takes place in two opposed and complementary contexts: the exhibition space of Forde, for which the artist Fabian Marti has conceived the exhibition’s display, a monumental altar on which the different works will be presented, thus conferring a strong sense of solemnity to the ensemble; and the Seujet park, allowing the artists to replay the outdoors context of an english cemetery into the field of public art.<\/p>\n <\/p>\n The works presented invite us to reflect on our relationship with death and its materialization, juxtaposing the western vision, characterized by positivism, with practices stemming from shamanism or with symbolic elements derived from science fiction narratives.<\/p>\n <\/p>\n <\/p>\n <\/p>\n FORDE<\/strong><\/p>\n John Armleder<\/p>\n Christian Bernard<\/p>\n Wim Delvoye<\/p>\n Vidya Gastaldon Gianni Motti<\/p>\n Amy O’Neill<\/p>\n Bruno Peinado<\/p>\n John Tremblay <\/p>\n PARC DU SEUJET (Promenade de St-Jean)<\/strong><\/p>\n Tarramo Broennimann <\/p>\n <\/p>\n Architecture:<\/strong><\/p>\n Fabian Marti avec Charlotte Truwant & Dries Rodet<\/p>\n \u00a0<\/strong><\/p>\n<\/div>\n Curateurs:<\/strong><\/p>\n<\/div>\n<\/div>\n Manuella Denogent<\/p>\n<\/div>\n<\/div>\n Elena Montesinos<\/p>\n<\/div>\n<\/div>\n Nicolas Wagni\u00e8res<\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n<\/div>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n <\/p>\n<\/a><\/p>\n
\nHR Giger
\nClaude L\u00e9v\u00eaque
\nFabian Marti
\nOlivier Mosset<\/p>\n
\nDenis Savary
\nBenjamin Valenza<\/p>\n
\nValentin Carron
\nClaudia Comte
\nKendell Geers
\nFabrice Gygi
\nVincent Kohler
\nFr\u00e9d\u00e9ric Post<\/p>\n
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