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E8829a348618211c4884ee2696 1er étage | Obergeschoss | 1st floor [18] Nicholas Bullen [19] Marc Titchner [20] Marc Titchner [13] Élodie Lesourd [16] Torbjørn Rødland [22] Banks Violette [21] Damien Deroubaix [14] Maël Nozahic [17] Theodor Kittelsen [15] Seldon Hunt [8] Jacobsen Gregory Gregory [9] Steven Shearer [10] Banks Violette [23] Juan Pablo [11] Matthew Barney Macías [12] Harmony Korine [7] Steven Shearer Rez-de-chaussée | Erdgeschoss | Ground floor TREACLE (à partir de | ab | from 20.5.2013) PROJECT ROOM [1] Mark Titchner [3] Gee Vaucher [2] Damien Deroubaix [5] Grégory Cuquel [4] Damien [6] Matthew Deroubaix Barney A CCU E KIDS KIND A I L T |E EL L I E MPF E A RW R B PO ANG | O R UR K SH E RE INFOLAB N LABO OP F C ANTS | EP | TI O N ENTRÉE | EINGANG | ENTRANCE sujet à modifications | Änderungen vorbehalten | subject to changes FR Altars of Madness Le metal extrême émerge dans la seconde moitié des années 1980 à travers trois genres musicaux distincts corrélés par des principes, des esthétiques et des évolutions différentes : le grindcore, le death metal et le black metal. Comme toutes les cultures « underground », le metal extrême n’est pas une histoire qui peut être vécue par procuration. Il apparaît donc qu’une partie des artistes dont l’œuvre est marquée en profondeur par cette culture ont été activement impliqués dans celle-ci. L’exposition Altars of Madness réunit les principaux d’entre eux. L’exposition pose sans détour la question de l’extrême, puis explore le genre musical sous les angles tour à tour de la politique, de la mort et d’un rapport païen au paysage. En référence aux trois styles musicaux qui définissent le metal extrême et à leurs particularités spécifiques, l’exposition se divise en trois parties. Lucid Fairytale Une partie de l’exposition se concentre sur le grindcore et la dimension politique du metal extrême. Puisant sa source dans le mouvement punk des années 1980, les groupes de grindcore abordent avant tout des sujets politiques comme l’anarchie, l’anticapitalisme, et révèlent une certaine radicalité discursive et esthétique. Sous la revendication affichée de « Noise not Music », le grindcore se définit délibérément comme anti-musical, rugueux et inconfortable, ce qui se traduit visuellement par un langage anti-esthétique, agressif, voire irritant. On peut remarquer une portée politique comparable dans les œuvres de Mark Titchner, Damien Deroubaix, Juan Pablo Macías, Nicholas Bullen et Gee Vaucher, qui révèlent et accusent la réalité abjecte du monde contemporain. Death is Just the Beginning La seconde partie de l’exposition correspond au death metal, qui peut être interprété comme l’équivalent musical aujourd’hui de ce qu’était le memento mori dans la peinture classique. L’extrême, ici, c’est la mort. Les groupes de death metal puisent dans cette thématique toute son expression. De même, la mort devient la métaphore de l’errance et de notre peur la plus fondamentale, à l’instar des représentations que l’on peut trouver chez Bosch et Brueghel. Des artistes comme Matthew Barney, Steven Shearer et Grégory Cuquel incorporent cette symbolique (à travers les 4 instruments, le look, les logos), tandis que d’autres – comme Gregory Jacobsen et Maël Nozahic – développent une œuvre plus introspective, explorant l’angoisse et l’ambiguïté dans toute leur violence en représentant des personnages monstrueux et morbides, voire des paysages apocalyptiques. Dark Matter Landscape La troisième partie de l’exposition est consacrée au black metal qui, sur le plan musical, oscille entre la rapidité extrême et des passages plus atmosphériques. L’humeur sombre et dépressive est ici couplée à une fascination pour la violence, le crime et le macabre. Le black metal incarne une position nihiliste et païenne en renvoyant tantôt aux déités nordiques, tantôt à tout ce qui peut incarner le mal. La richesse visuelle du genre a inspiré de nombreux artistes. Mais outre le « corpse paint » et les références sataniques, c’est davantage sur le thème du paysage que se concentre cette partie de l’exposition avec des artistes tels que Torbjørn Rødland, Banks Violette, Harmony Korine, Élodie Lesourd, Seldon Hunt et, en figure de référence, le peintre et illustrateur norvégienT heodor Kittelsen (1857–1914). Jérôme Lefèvre 5 DE Altars of Madness In der zweiten Hälfte der 1980er Jahre kam Extreme Metal auf und manifestierte sich in drei verschiedenen Musikrichtungen, die sich in ihren Prinzipien, ihrer Ästhetik und ihrer Entwicklung unterscheiden: Grindcore, Death Metal und Black Metal. Wie alle Undergroundkulturen ist Extreme Metal etwas, das man nicht einfach weitergeben kann: Man muss es selbst erleben. Es stellt sich heraus, dass viele der Künstler, deren Werk grundtief von dieser Kultur beeinflusst ist, sehr aktiv in dieser Kultur impliziert waren oder sind. Das Ausstellungsprojekt Altars of Madness zeigt die Arbeiten der wichtigsten unter ihnen. Die Ausstellung setzt sich mit der Frage des Extremen auseinander, um dann diese Musikrichtung unter unterschiedlichen Aspekten – Politik, Tod, Paganismus und Landschaft – zu beleuchten. In Anlehnung an die drei Musikrichtungen des Extreme Metal und deren unterschiedliche Charakteristika besteht die Ausstellung aus drei Teilen. Lucid Fairytale Der erste Teil konzentriert sich auf Grindcore und betont die politische Dimension des Extreme Metal. Grindcore hat seine Wurzeln in der Punkbewegung der 1980er Jahre, und so befassen sich die Bands vor allem mit politischen Themen wie Anarchie oder Antikapitalismus und zeichnen sich durch einen diskursiven und ästhetischen Radikalismus aus. Unter dem Label „Noise not Music“ (Krach, keine Musik) ist Grindcore absichtlich anti-musikalisch, rau und unbequem, was sich visuell in anti-ästhetischen, aggressiven und irritierenden Merkmalen äußert. Künstlerinnen und Künstler wie Mark Titchner, Damien Deroubaix, Juan Pablo Macías, Nicholas Bullen oder Gee Vaucher beschäftigen sich alle mit politischen Themen, sie stellen die bittere Realität unserer zeitgenössischen Welt bloß und klagen sie an. Death is Just the Beginning Der zweite Teil bezieht sich auf Death Metal, das mit den „Memento-mori“- oder Vanitas-Symbolen der klassischen Malerei vergleichbar ist. Als Extrem gilt hier der Tod, der im Death Metal voll zum Ausdruck kommt. Mit an Bosch und Brueghel anlehnende Metaphern für unsere Ängste und Seelenverirrungen beschäftigen sich Death-Metal-Bands mit dem Tod als dem ultimativen und unweigerlichen Ende. Einige der teilnehmenden Künstler, darunter Matthew Barney, Steven Shearer und Grégory 6 Cuquel, haben die „Symbole“ dieser Kultur (Instrumente, Styling, Logos) integriert, während andere – wie Gregory Jacobsen oder Maël Nozahic – eher beschaulichere Arbeiten geschaffen haben, in denen sie unsere Ängste und Unsicherheiten mit Hilfe monströser oder morbider Figuren und apokalyptischer Landschaften brutal offenlegen. Dark Matter Landscape Der dritte Teil der Ausstellung konzentriert sich auf Black Metal, ein Genre, das musikalisch zwischen extremem Tempo und eher „atmosphärischen“ Parts oszilliert. Es schafft eine düstere und depressive Stimmung verbunden mit der Faszination für Gewalt, Verbrechen und das Makabre. Mit seiner nihilistischen und heidnischen Haltung verweist Black Metal sowohl auf die nordischen Gottheiten als auch auf Verkörperungen des Bösen. Das auf der visuellen Ebene besonders üppige Genre diente vielen Künstlerinnen und Künstlern als Inspiration. Dieser Teil der Ausstellung, der sich unter anderem mit dem „Corpse Paint“ (das typische schwarzweiße Make-up) und Satanismus beschäftigt, ist vor allem aber dem Landschaftsthema gewidmet mit Arbeiten von Künstlern wie Torbjørn Rødland, Banks Violette, Harmony Korine, Élodie Lesourd und Seldon Hunt. Der norwegischen Maler und Illustrator Theodor Kittelsen (1857–1914) dient dabei als Referenzfigur. Jérôme Lefèvre 7 EN Altars of Madness Extreme metal emerged in the second half of the 1980s through three distinct musical genres with different principles, aesthetics and evolutions: grindcore, death metal and black metal. Like all underground cultures, extreme metal is not something that can simply be passed on: you have to experience it on your own. And so it appears that some artists, whose works have been deeply affected by it, have also been actively involved in this scene. The Altars of Madness exhibition displays and brings together the works of some of the most significant among them. The exhibition questions the notion of the extreme, and analyses this musical genre from different points of view (political aspect, death, paganism and landscape). Following the three musical genres of extreme metal and their different characteristics, the exhibition is divided into three parts. Lucid Fairytale The first part concentrates on grindcore and emphasizes the political dimension of extreme metal. Having its source in the 1980s punk movement, grindcore bands treat above all political subjects such as anarchy or anti-capitalism, and are characterized by a discursive and aesthetic radicalism. Labelled as “Noise not Music”, grindcore is deliberately anti-musical, abrasive and uncomfortable, which is visually reflected by anti-aesthetic, aggressive and irritating characteristics. Artists such as Mark Titchner, Damien Deroubaix, Juan Pablo Macías, Nicholas Bullen or Gee Vaucher all deal with political themes, revealing and accusing the abject reality of our contemporary world. Death is Just the Beginning The second part is related to death metal, which can be compared to the memento mori and vanitas symbols in classical paintings.
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