Since 1989, the Musée du Louvre and the Réunion des Musées Nationaux have entrusted contemporary artists with the task of producing engraved plates for the Chalcographie, which is responsible for the exclusive printing of the plates, with no limit on the number of prints.
Very different trends in contemporary ...
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Since 1989, the Musée du Louvre and the Réunion des Musées Nationaux have entrusted contemporary artists with the task of producing engraved plates for the Chalcographie, which is responsible for the exclusive printing of the plates, with no limit on the number of prints.
Very different trends in contemporary art are represented. Geneviève Asse rubs shoulders with Georg Baselitz, Pierre Courtin, Jean-Pierre Pincemin, Pat Steir, Jean-Michel Alberola, Robert Morris, Louise Bourgeois, Marcus Raetz, Pierre Alechinsky or Agathe May.
Distancing himself from the great American examples of the 50s and 60s, Terry Winters began by exploring the organic, in a vein where figuration tends to the process of abstraction: fruits, germinations, cellular segmentations, primary forms of life.
Then he moves towards a more conceptual spatial representation where technology and information theories resonate. The lack of a title (indexed on the Louvre) does not mean the absence of a meaningful image (nor a reference to the Parisian museum). A sort of very controlled dripping, with a covering varnish that leaves only the areas bordering the vast linear net to be bitten by the acid, the etching suggests figures and readings - those, properly matrixed, of neurological networks, of printed electronic circuits, of the Web (the network, the planetary spider), of radiating cities to the archaeology as determined as phantasmatic, as those that Piranesi imagines in his plans of the ancient Rome, the Piranesi of the Prisons with whom Winters shares precisely the sense of the learned confusion of the front and the back in the "flat" staging of the space.
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