{"id":894,"date":"2021-10-10T17:50:16","date_gmt":"2021-10-10T15:50:16","guid":{"rendered":"https:\/\/danaepanchaud.net\/?page_id=894"},"modified":"2021-10-10T17:52:09","modified_gmt":"2021-10-10T15:52:09","slug":"yvan-alvarez","status":"publish","type":"page","link":"https:\/\/danaepanchaud.net\/index.php\/articles-and-essays\/yvan-alvarez\/","title":{"rendered":"Yvan Alvarez"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_01-1024x683.jpg\" alt=\"\" class=\"wp-image-895\" srcset=\"https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_01-1024x683.jpg 1024w, https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_01-300x200.jpg 300w, https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_01-768x513.jpg 768w, https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_01.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Centre d&#8217;art contemnporain Gen\u00e8ve<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>2021 | Bourses de la Ville de Gen\u00e8ve<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Exhibition text for Yvan Alvarez&#8217;s installation in the exhibition <a href=\"https:\/\/centre.ch\/en\/exhibitions\/bourses-de-la-ville-de-geneve-2021\/\">Bourses de la Ville de Gen\u00e8ve 2021<\/a> at Centre d&#8217;art contemporain Gen\u00e8ve.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8220;La pratique d\u2019Yvan Alvarez, aujourd\u2019hui principalement installative, op\u00e8re souvent conceptuellement \u00e0 la mani\u00e8re de la photographie. Elle proc\u00e8de par cadrage, par l\u2019extraction d\u2019\u00e9l\u00e9ments de la r\u00e9alit\u00e9 pour les figer et les ins\u00e9rer dans la salle d\u2019exposition, parfois intacts, parfois morcel\u00e9s ou reconstruits, parfois dissimul\u00e9s. Ils sont autant de reliquats, charri\u00e9s jusqu\u2019\u00e0 l\u2019espace d\u2019art avec une \u00e9conomie de moyens d\u00e9lib\u00e9r\u00e9e et une pr\u00e9cision rigoureuse. Plut\u00f4t que des ready-made, ces images et objets agissent comme des d\u00e9flecteurs, attirant notre attention sur le hors-cadre, sur la part manquante. Leur sens se d\u00e9ploie dans ces interstices, ces espaces suspendus et presque ind\u00e9finis dont \u00e9mergent des r\u00e9cits fragmentaires, au d\u00e9cryptage sem\u00e9 d\u2019emb\u00fbches parfois litt\u00e9rales.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Objets et images y disposent d\u2019une autonomie restreinte. Issus fr\u00e9quemment de l\u2019histoire et des exp\u00e9riences de l\u2019artiste, ils incarnent aussi un certain \u00e9chec \u00e0 transmettre quelque chose de son v\u00e9cu, et une r\u00e9signation \u00e0 cette d\u00e9faite. Plut\u00f4t que de porter notre attention sur ces r\u00e9cits intimes, ils l\u2019attirent sur ces limites, sur les points de rupture de cette transmission. Mais en retour, ils proposent aussi une exp\u00e9rience nouvelle, engendr\u00e9e par les tensions presque performatives entre ce qui est donn\u00e9 et ce qui est retenu. Si elles adoptent une strat\u00e9gie de repli, et expriment une forme de d\u00e9senchantement, les \u0153uvres d\u2019Yvan Alvarez contiennent aussi une part latente, et avec elle la possibilit\u00e9, distante soit-elle, d\u2019une r\u00e9solution, d\u2019une reconnexion. Qu\u2019il s\u2019agisse d\u2019images abstraites se d\u00e9veloppant ou se d\u00e9gradant lentement, de bo\u00eetes en carton ou de couvertures dissimulant des objets au regard, ou d\u2019objets du quotidien rechor\u00e9ographi\u00e9s dans l\u2019espace d\u2019exposition, elles jouent de ce possible toujours pr\u00e9sent, tout en nous abandonnant \u00e0 leur ind\u00e9chiffrabilit\u00e9, \u00e0 notre impuissance en tant que spectateur \u00e0 provoquer ce d\u00e9nouement.&#8221;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_03-1024x683.jpg\" alt=\"\" class=\"wp-image-896\" srcset=\"https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_03-1024x683.jpg 1024w, https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_03-300x200.jpg 300w, https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_03-768x512.jpg 768w, https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_03.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Centre d&#8217;art contemporain Gen\u00e8ve<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_11-1024x683.jpg\" alt=\"\" class=\"wp-image-897\" srcset=\"https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_11-1024x683.jpg 1024w, https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_11-300x200.jpg 300w, https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_11-768x513.jpg 768w, https:\/\/danaepanchaud.net\/wp-content\/uploads\/2021\/10\/2021_BLCG_YVANALVAREZ_11.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption>\u00a9 Centre d&#8217;art contemporain Gen\u00e8ve<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>2021 | Bourses de la Ville de Gen\u00e8ve Exhibition text for Yvan Alvarez&#8217;s installation in the exhibition Bourses de la Ville de Gen\u00e8ve 2021 at Centre d&#8217;art contemporain Gen\u00e8ve. &#8220;La pratique d\u2019Yvan Alvarez, aujourd\u2019hui principalement installative, op\u00e8re souvent conceptuellement \u00e0 la mani\u00e8re de la photographie. Elle proc\u00e8de par cadrage, par l\u2019extraction d\u2019\u00e9l\u00e9ments de la r\u00e9alit\u00e9 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":622,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-894","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/894","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/comments?post=894"}],"version-history":[{"count":1,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/894\/revisions"}],"predecessor-version":[{"id":898,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/894\/revisions\/898"}],"up":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/622"}],"wp:attachment":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/media?parent=894"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}