{"id":2260,"global_id":"www.daliparis.com\/en\/?id=2260","global_id_lineage":["www.daliparis.com\/en\/?id=2260"],"author":"1","status":"publish","date":"2019-07-31 09:57:26","date_utc":"2019-07-31 09:57:26","modified":"2024-05-27 16:39:50","modified_utc":"2024-05-27 16:39:50","url":"https:\/\/www.daliparis.com\/en\/event\/devoration\/","rest_url":"https:\/\/www.daliparis.com\/en\/wp-json\/tribe\/events\/v1\/events\/2260","title":"Devoration Seung-Hwan OH","description":"<div class=\"wpb-content-wrapper\">[vc_row][vc_column][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]\n<p style=\"text-align: justify;\">Si Dali est mis \u00e0 l\u2019honneur \u00e0 Dali Paris pour son \u0153uvre picturale, graphique et sculpturale, il nous semblerait incomplet d\u2019ignorer sa fascination pour la photographie, dont il fait fr\u00e9quemment usage dans ses collages, mais aussi dans ses collaborations avec Man Ray, Brassa\u00ef ou Cecil Beaton. Certes Dali est le sujet de nombreuses photographies, particuli\u00e8rement de Robert Descharnes et Enrique Sabater, et m\u00eame sa signature en forme de couronne est directement inspir\u00e9e du fameux Milk Spout de Harold Edgerton, premi\u00e8re utilisation du stroboscope dans la photographie en 1936.<\/p>\n<p style=\"text-align: justify;\">Mais l\u2019int\u00e9r\u00eat de Dali pour la diffraction du temps ne s\u2019arr\u00eate pas au symbole, il est aussi \u00e0 l\u2019origine d\u2019une r\u00e9f\u00e9rence de l\u2019imaginaire collectif\u00a0: Dali Atomicus. Ce clich\u00e9 r\u00e9alis\u00e9 avec Philippe Halsman, en 1948, pour le magazine Life o\u00f9 tout semble \u00eatre en suspension\u00a0: chats, chaise, eau, Dali lui-m\u00eame appara\u00eet d\u2019une incroyable spontan\u00e9it\u00e9. Pourtant des heures de travail et de nombreux essais infructueux se cachent derri\u00e8re cet instant magique. Pr\u00e9sentant en arri\u00e8re-plan l\u2019huile Leda Atomica, cette photographie est r\u00e9v\u00e9latrice de la passion de Dali pour la science, dans le contexte de peur atomique d\u2019apr\u00e8s-guerre. Elle illustre la conception atomique dalinienne\u00a0: \u00ab\u00a0Tout doit \u00eatre en suspension comme dans un atome\u00a0\u00bb.<\/p>\n<p style=\"text-align: justify;\">\u00a0\u00ab\u00a0Dans un premier temps, Dali utilise l&#8217;image photographique comme une instance m\u00e9diatrice qui lui permet de contr\u00f4ler ses pulsions et de d\u00e9finir pr\u00e9cis\u00e9ment les objets. Elle alimente ensuite son activit\u00e9 parano\u00efaque-critique et favorise son exploitation du concept de comestibilit\u00e9. Elle assure enfin la r\u00e9ification de l&#8217;artiste et la diffusion de son image th\u00e9\u00e2tralis\u00e9e dans la presse. Les photographies, au service de la construction de l&#8217;identit\u00e9 comme de l&#8217;art de Dali, acqui\u00e8rent ainsi une valeur, concr\u00e8te ou m\u00e9taphorique, de portraits.\u00a0\u00bb\u00a0(Aufraise, 2013)<\/p>\n<p style=\"text-align: justify;\">Cette interp\u00e9n\u00e9tration de la science et de l\u2019art se retrouve dans le travail de Seung Hwan OH. Photographe f\u00e9ru de science, cet artiste cor\u00e9en prend en premier lieu des portraits (puis des nus) fixant ainsi sa vision. Puis il mat\u00e9rialise la distorsion du temps. La mati\u00e8re semble d\u00e9chir\u00e9e, alt\u00e9r\u00e9e. Cette transformation du r\u00e9el ne vient pas d\u2019une transformation digitale, mais bien d\u2019une action naturelle. Les photographies sont plong\u00e9es dans un bain de moisissures et de bact\u00e9ries qui \u00ab\u00a0se nourrissent\u00a0\u00bb du r\u00e9el pour le m\u00e9tamorphoser et transfigurer ces personnages dans un univers \u00e0 la fois psych\u00e9d\u00e9lique de par ses couleurs, mais aussi anxiog\u00e8ne \u2013 l\u2019\u00e8re atomique a laiss\u00e9 place \u00e0 l\u2019\u00e8re bact\u00e9riologique -. Ainsi, selon l\u2019artiste, c\u2019est ce qui disparait qui cr\u00e9\u00e9 l\u2019image, interrogeant ainsi que ce qui persiste, une th\u00e9matique obsessionnelle de l\u2019immortalit\u00e9 de l\u2019\u0153uvre artistique face \u00e0 l\u2019impermanence de la beaut\u00e9 physique.<\/p>\n<p style=\"text-align: justify;\">De l\u2019imaginaire d\u2019Alice aux pays des merveilles \u00e0 l\u2019angoisse des \u0153uvres de Francis Bacon pr\u00e9sent\u00e9es conjointement, les photographies de Seung Hwan OH intensifient les couleurs d\u2019un dialogue artistique dramaturgique.<\/p>\n<p>I am text block. Click edit button to change this text. Lorem ipsum dolor sit amet, consectetur adipiscing elit. 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