{"id":1174,"date":"2025-10-21T10:18:26","date_gmt":"2025-10-21T08:18:26","guid":{"rendered":"https:\/\/stam.mmkt.dev\/col-leccions\/konrad-klapheck\/"},"modified":"2025-12-12T19:59:18","modified_gmt":"2025-12-12T18:59:18","slug":"konrad-klapheck","status":"publish","type":"col-leccio","link":"https:\/\/www.fundacio-stampfli.org\/fr\/collections\/konrad-klapheck\/","title":{"rendered":"Konrad Klapheck"},"content":{"rendered":"\n

L’oeuvre<\/h3>\n\n

L’impatience du Sphinx200456 x 71,2 cmLithographie<\/p>\n\n

Le Sphinx auquel fait r\u00e9f\u00e9rence le titre a pris la forme d’une \u00e9trange machine \u00e0 percer, proche d’une machine \u00e0 coudre. Il est repr\u00e9sent\u00e9 de profil avec une peinture froide, pr\u00e9cise et r\u00e9aliste, comme une illustration de catalogue d’\u00e9quipement technique ou de machinerie. L’impatience du titre peut \u00eatre sugg\u00e9r\u00e9e par la longueur de l’aiguille \u00e0 percer et le sentiment inqui\u00e9tant de menace.Le Sphinx \u00e9tait un animal mythologique de l’Antiquit\u00e9 qui gardait l’entr\u00e9e de la ville grecque de Th\u00e8bes en demandant aux voyageurs de r\u00e9pondre \u00e0 une \u00e9nigme pour leur permettre de passer. Ceux qui ne trouvaient pas la r\u00e9ponse ou ne la connaissaient pas perdaient la vie et \u00e9taient d\u00e9vor\u00e9s.Il a d\u00e9cid\u00e9 de construire tout un syst\u00e8me de th\u00e8mes m\u00e9caniques afin d’expliquer son autobiographie \u00e0 travers eux. Il a ainsi d\u00e9montr\u00e9 la relation entre les machines et les \u00eatres humains, une pr\u00e9occupation des artistes et des intellectuels depuis la fin du XIXe si\u00e8cle, dont la machine protagoniste de la nouvelle de Kafka, \u00ab\u00a0Dans la colonie p\u00e9nitentiaire\u00a0\u00bb(1919) est un excellent exemple. <\/p>\n\n

L’artiste<\/h3>\n\n

(1935, D\u00fcsseldorf, Alemanya \u2013 2023, D\u00fcsseldorf)<\/strong><\/p>\n\n

Klapheck \u00e9tait peintre et graphiste. Les peintures qu’il a commenc\u00e9 \u00e0 exposer dans les ann\u00e9es 1950 repr\u00e9sentent des appareils m\u00e9nagers. Parmi ses sujets, on trouve des machines \u00e0 \u00e9crire, des machines \u00e0 coudre, des robinets et des douches, des t\u00e9l\u00e9phones, des fers \u00e0 repasser, des chaussures, des clous, des scies, des pneus, des sonnettes de v\u00e9lo et des horloges.N\u00e9 dans une famille juive, Klapheck a v\u00e9cu l’expulsion de son p\u00e8re de l’Acad\u00e9mie des Beaux-Arts de D\u00fcsseldorf o\u00f9 il enseignait et qui fut plus tard l’un des six millions d’innocents assassin\u00e9s dans les camps d’extermination. Il est mort \u00e0 Auschwitz. Les appareils peints par Klapheck se veulent des all\u00e9gories d’instruments au service du mal, les machines \u00e0 \u00e9crire avec lesquelles la bureaucratie nazie r\u00e9digeait les condamnations \u00e0 mort des personnes condamn\u00e9es aux camps de concentration.Les machines \u00e0 coudre font r\u00e9f\u00e9rence \u00e0 la s\u00e9paration claire des r\u00f4les sociaux entre les hommes et les femmes, s\u00e9paration tr\u00e8s nette dans une soci\u00e9t\u00e9 comme celle des nazis, qui rel\u00e9guait les femmes \u00e0 leur r\u00f4le de femmes au foyer, plus attach\u00e9es aux machines \u00e0 coudre comme \u00e9l\u00e9ments indispensables dans le r\u00f4le de gardiennes du foyer que leur avait attribu\u00e9 l’id\u00e9ologie nazie.Dans les ann\u00e9es 1950, Klapheck a \u00e9tudi\u00e9 avec son mentor, le surr\u00e9aliste Bruno Goller, et c’est par son interm\u00e9diaire qu’il a rencontr\u00e9 Andr\u00e9 Breton. Il s’est install\u00e9 \u00e0 Paris, au moment o\u00f9 l’informalisme se d\u00e9veloppait, mais ne s’y est pas senti \u00e0 l’aise artistiquement et est retourn\u00e9 dans sa ville natale de D\u00fcsseldorf. ll \u00e9tait l’un des rares artistes internationaux de la collection de la Fondation St\u00e4mpfli \u00e0 ne pas avoir fait carri\u00e8re \u00e0 Paris.<\/p>\n","protected":false},"featured_media":2351,"template":"","meta":{"_acf_changed":false,"inline_featured_image":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"class_list":["post-1174","col-leccio","type-col-leccio","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nKonrad Klapheck - Fundaci\u00f3 St\u00e4mpfli<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fundacio-stampfli.org\/fr\/collections\/konrad-klapheck\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Konrad Klapheck - Fundaci\u00f3 St\u00e4mpfli\" \/>\n<meta property=\"og:description\" content=\"L’oeuvre L’impatience du Sphinx200456 x 71,2 cmLithographie Le Sphinx auquel fait r\u00e9f\u00e9rence le titre a pris la forme d’une \u00e9trange machine \u00e0 percer, proche d’une machine \u00e0 coudre. 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