{"id":3259,"date":"2023-12-13T06:33:19","date_gmt":"2023-12-13T05:33:19","guid":{"rendered":"https:\/\/olivierfelixisselin.com\/?p=3259"},"modified":"2023-12-13T06:33:20","modified_gmt":"2023-12-13T05:33:20","slug":"digresije-in-kritike-prekrizani-portreti","status":"publish","type":"post","link":"https:\/\/olivierfelixisselin.com\/index.php\/sl\/2023\/12\/13\/digresije-in-kritike-prekrizani-portreti\/","title":{"rendered":"Digresije in kritike \u2013 prekri\u017eani portreti."},"content":{"rendered":"\n

\u010clanek \u2013 \u010dasopis La Gazette \u2013 november 2015.<\/p>\n\n\n\n

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Bitje iz\u017eareva na podlagi zavedanja svojega potencialnega u\u017eitka in mo\u010di, ki jo ima, da ta u\u017eitek obvlada, seveda skupaj z veseljem do \u017eivljenja, dokler nobeno zrno peska ne zmoti tega veselja \u017eivljenja.<\/p>\n\n\n\n

Ali se torej lahko ukvarjamo s podro\u010djem dejavnosti in se hkrati ukvarjamo s poezijo, umetnostno kritiko, filmsko kritiko ali literarno kritiko?<\/p>\n\n\n\n

Seveda, da. Klju\u010dno je zdru\u017eiti te razli\u010dne oblike pisanja in dose\u010di njihovo bistvo v sebi. In tam, kot bi rekli Angle\u017ei, \u00ab\u00a0it’s an other pair of sleeves.\u00a0\u00bb<\/p>\n\n\n\n

Olivier Isselin v svojem novem prostoru razstavlja pribli\u017eno dvajset slik Jean-Yvesa Texierja. Ta mladi galerist je bil rojen v regiji Langres, tako kot Texier. Od nekdaj sta se poznala in lahko bi rekli, da je bil Isselin tam inkarniran, da bi nekega dne imel prilo\u017enost razstavljati svojega starej\u0161ega, Texierja.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Tako Isselin, iskalec mladih talentov z izobrazbo v arhitekturi in scenografiji, obo\u017euje kulturne trenutke in bi rad prebivalcem Dijona odprl o\u010di za sodobno umetnost.
Njegov pogled na umetnost je preprosto pogled na zabavo. Njegova ideja: braniti tiste, v katere verjame, braniti ekipo, ne glede na raznolikost njenih na\u010dinov izra\u017eanja. Da, saj smo se sprva morda bali, glede na prve razstave v teh krajih, usmeritve, ki je na\u010drtno usmerjena v fotografijo in njene izpeljanke, retu\u0161irane in preslikane fotografije ipd. (John Batho je eden od umetnikov, ki jih je galerija razvajala).
Vendar vidimo dolo\u010deno eklekti\u010dnost, zdru\u017eeno z \u017eeljo po intimnosti, v antologiji, ki je vredna njegove ob\u010dutljivosti.
Olivier brska, i\u0161\u010de, sortira in najde \u010dlane svoje \u00bbekipe\u00ab glede na svoje izbirne afinitete. Ceni svojo neodvisnost in dela po projektnih naro\u010dilih, namesto da bi jezdil val mode, veliko potuje, obiskuje razstave in sejme sodobne umetnosti: Basel, F.I.A.C. itd., da bi se \u010dim bolj povohal in ohranil potrebno kulturo. za tvegan poklic, ki se ga je odlo\u010dil oprijeti.
Osebno se bolj ukvarja s produkcijo in obrambo anga\u017eiranih umetnikov. Texier odli\u010dno ilustrira podobo njegovega galerista, ko pravi, da je mogo\u010de biti pripoveden v smislu razse\u017enosti pripovedne poezije, ne da bi se pogreznil v dekoracijo ali dekorativno. Slikarstvo je lahko moderno, sodobno, abstraktno, nasilno, mehko, figurativno itd., nikakor pa ne sme biti ne\u010dimrno.<\/p>\n\n\n\n

Tako Isselin, iskalec mladih talentov z izobrazbo v arhitekturi in scenografiji, obo\u017euje kulturne trenutke in bi rad prebivalcem Dijona odprl o\u010di za sodobno umetnost.
Njegov pogled na umetnost je preprosto pogled na zabavo. Njegova ideja: braniti tiste, v katere verjame, braniti ekipo, ne glede na raznolikost njenih na\u010dinov izra\u017eanja. Da, saj smo se sprva morda bali, glede na prve razstave v teh krajih, usmeritve, ki je na\u010drtno usmerjena v fotografijo in njene izpeljanke, retu\u0161irane in preslikane fotografije ipd. (John Batho je eden od umetnikov, ki jih je galerija razvajala).
Vendar vidimo dolo\u010deno eklekti\u010dnost, zdru\u017eeno z \u017eeljo po intimnosti, v antologiji, ki je vredna njegove ob\u010dutljivosti.
Olivier brska, i\u0161\u010de, sortira in najde \u010dlane svoje \u00bbekipe\u00ab glede na svoje izbirne afinitete. Ceni svojo neodvisnost in dela po projektnih naro\u010dilih, namesto da bi jezdil val mode, veliko potuje, obiskuje razstave in sejme sodobne umetnosti: Basel, F.I.A.C. itd., da bi se \u010dim bolj povohal in ohranil potrebno kulturo. za tvegan poklic, ki se ga je odlo\u010dil oprijeti.
Osebno se bolj ukvarja s produkcijo in obrambo anga\u017eiranih umetnikov. Texier odli\u010dno ilustrira podobo njegovega galerista, ko pravi, da je mogo\u010de biti pripoveden v smislu razse\u017enosti pripovedne poezije, ne da bi se pogreznil v dekoracijo ali dekorativno. Slikarstvo je lahko moderno, sodobno, abstraktno, nasilno, mehko, figurativno itd., nikakor pa ne sme biti ne\u010dimrno.<\/p>\n\n\n\n

Kar pa ne velja za Texierja: izdeluje serijo doprsnih kipov ali portretov (kar je novost, saj njegovo delo spremljamo \u017ee pribli\u017eno petnajst let), pa tudi kontinuiteto njegovih \u017eivalskih serij, osredoto\u010denih na konje in bike. No, Texier je predvsem oblikovalec z veliko virtuoznostjo in dokaj osebnim slogom risanja. \u010cutimo hitrost, strast. \u010copi\u010di za njegove roke so mulete, s katerimi se podaja pred bikovska platna. V nekaterih majhnih doprsnih kipih je Bacon, Soutine na portretih, v\u010dasih pome\u0161an z vtisom Toulouse-Lautreca, toda Lautreca, ki bi ga \u010dlovek stresel, zabrisal. To je zelo zanimivo, \u010detudi se nam zdi, da je Texier v rahli dilemi, gre \u0161e bolj v \u0161ok in destrukturiranje, skratka, dela bolj \u00bbtrashy\u00ab, ali posku\u0161a popolno nihati med obema trendoma, klasicizmom roke in epilepsijo linija.
Ko smo \u017ee pri konjih in bikih, se slednji na platnu pojavljajo kot elementi pikaresknih fresk, ki bi bili izolirani od ansambla ali skupine, saj se zdi, da se med seboj odzivajo od enega dela do drugega. Gre za skicirana platna, kjer na kratko in skoraj hipoteti\u010dno za\u010dutimo sanje, kako se \u010dopi\u010d, ki ga nosi duhovita roka, dotakne vodne povr\u0161ine \u2013 pardon \u2013 platna; je slikar res slikal ali se mu je samo sanjalo, da graciozno skicira skrito gibanje, a tako mo\u010dno, da se bo odtis te virtualnosti vtisnil kar sam od sebe?
Kontrast je zabaven in sme\u0161en s tem brezpla\u010dnim elektronom ve\u010dno razburjenega galerista, tega v elektronsko glasbo zaljubljenega problematika; ena strast je potrebna za spodbujanje druge. Vsekakor se imenuje \u00ab\u00a0Warholian\u00a0\u00bb in to je razvidno iz njegove izbire serije. Obo\u017euje predhodnike, vendar ne prezira vrniti se k dobremu staremu lokalnemu umetniku, ki se ukvarja s slikanjem, ki izhaja iz znanosti in poznavanja \u010dudovite klasi\u010dne risbe. Tako radi mislimo, kot Michel Butor o romanu, da slikarstvo ustreza kulturi in dolo\u010denemu obdobju. V\u010dasih se neha izra\u017eati v tem ali onem delu svoje izraznosti (krajina, \u017eanrski prizori, tiho\u017eitja, portreti, abstrakcija), v\u010dasih pa za\u010dne znova, glede na ob\u010dutljivost \u010dasa. Trenutno smo pri\u010da stagnaciji te energije v korist drugih, bolj inovativnih oblik izra\u017eanja.<\/p>\n\n\n\n

Tako kot Andr\u00e9 Breton tudi Isselin izvaja \u00bbzgodovinsko in kategori\u010dno dekompartmentalizacijo\u00ab, razen za glasbo, ki jo je Breton sovra\u017eil, kar pa ni bil edini neprijeten vidik lika, kot vemo.<\/p>\n\n\n\n

Prekri\u017eani portreti tudi zato, ker sem sre\u010dal samo Texierja: takega ogra ne posiljuje\u0161, pa naj bo \u0161e tako veseljak. Vendar bodi previden, lahek oger. Ne vsiljuje se, ne po\u017eira prostora s svojo prisotnostjo. Ne, je precej diskretna, dru\u017eabna in prijetna, prijazen in dobrodu\u0161en brada\u010d, a z ne\u017eno glasbo v obliki sonatine.<\/p>\n\n\n\n

Tu za\u010dutimo ob\u010dutljivost, kjer ugibamo kompleksnost, ki se skriva pod navidezno preprostostjo.<\/p>\n\n\n\n

Je nekdo, ki te bo pustil, da pride\u0161 k sebi, a bo pri\u0161el \u0161ele, ko bo pravi \u010das, ko te bo sprejel, kot konj na koncu. Kot bi bili konji tako sve\u017ei, francoski in tako \u017eivi, \u200b\u200bkrta\u010deni, skoraj ro\u010dno, na slepo, kjer umetnikov ples \u010drpa iz svojega znanja, da pusti spregovoriti instinkt.<\/p>\n\n\n\n

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\u010clanek \u2013 \u010dasopis La Gazette \u2013 november 2015. 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