{"id":1298,"date":"2025-10-22T09:37:52","date_gmt":"2025-10-22T07:37:52","guid":{"rendered":"https:\/\/stam.mmkt.dev\/col-leccions\/jean-pierre-raynaud\/"},"modified":"2025-12-14T10:45:33","modified_gmt":"2025-12-14T09:45:33","slug":"jean-pierre-raynaud","status":"publish","type":"col-leccio","link":"https:\/\/www.fundacio-stampfli.org\/fr\/collections\/jean-pierre-raynaud\/","title":{"rendered":"Jean-Pierre Raynaud"},"content":{"rendered":"\n

L’oeuvre<\/h3>\n\n

Sans titre196623 x 65 x 45 cmEncadrement : agglom\u00e9r\u00e9 de bois recouvert de m\u00e9lamine hydrofuge, pot de fleurs, ciment, restes, peinture<\/p>\n\n

Le cube, rempli de ciment de diff\u00e9rentes tailles et couleurs, \u00e9tait la signature de Raynaud. Pendant de nombreuses ann\u00e9es, \u00e0 Paris, sur l’esplanade devant le Centre Pompidou, se dressait un grand cube blanc surmont\u00e9 du gigantesque cube dor\u00e9 de Raynaud. Il est rest\u00e9 au cinqui\u00e8me \u00e9tage, dans une grande vitrine allant du sol au plafond, jusqu’\u00e0 la fermeture du mus\u00e9e en 2025 pour r\u00e9novation.Raynaud a toujours utilis\u00e9 des objets charg\u00e9s de symbolisme li\u00e9s \u00e0 sa propre exp\u00e9rience de vie. Le premier \u00e9tait un pot de jardinage destin\u00e9 \u00e0 la culture des fleurs, qu’il a rempli de ciment comme m\u00e9taphore d’une vie ou d’un souvenir clos, faisant ici r\u00e9f\u00e9rence \u00e0 son premier m\u00e9tier de jardinier.L’\u0153uvre de la collection \u00e9tait un cadeau de Raynaud \u00e0 St\u00e4mpfli en gage d’amiti\u00e9 apr\u00e8s leur participation commune \u00e0 une double exposition \u00e0 la galerie Larcade en 1966. <\/p>\n\n

L’artiste<\/h3>\n\n

(Courbevoie, France, 1939)<\/strong><\/p>\n\n

L’\u0153uvre de Jean-Pierre Raynaud se caract\u00e9rise par une esth\u00e9tique radicale, froide et tr\u00e8s syst\u00e9matique, qui oscille entre l’art conceptuel et le minimalisme, mais qui est en r\u00e9alit\u00e9 une forme tr\u00e8s personnelle de symbolisme, li\u00e9 \u00e0 sa propre exp\u00e9rience; le pot de jardinage pour cultiver des fleurs qu’il remplissait de ciment comme m\u00e9taphore de la vie ferm\u00e9e ou de la m\u00e9moire. Dans ce cas, il s’agissait de son premier m\u00e9tier de jardinier.Par la suite, Raynaud a utilis\u00e9 le carreau de c\u00e9ramique blanc comme signe visuel distinctif. Il a recouvert de grandes surfaces de carreaux carr\u00e9s blancs avec des joints noirs, comme ceux utilis\u00e9s dans les salles de bains ou les h\u00f4pitaux. Il a utilis\u00e9 ce motif pour recouvrir toutes sortes d’objets quotidiens, des sculptures, des pi\u00e8ces, des conteneurs et m\u00eame sa propre maison. La r\u00e9p\u00e9tition du module uniforme renvoie \u00e0 des id\u00e9es de froideur, de st\u00e9rilit\u00e9, d’ordre et de neutralit\u00e9, mais peut \u00e9galement sugg\u00e9rer la r\u00e9pression ou la mort.Entre 1969 et 1993, il a v\u00e9cu dans une maison enti\u00e8rement recouverte de carreaux blancs : c’\u00e9tait \u00e0 la fois une habitation et une \u0153uvre d’art vivante. En 1993, il l’a d\u00e9truite lui-m\u00eame et a expos\u00e9 ses fragments dans des r\u00e9cipients, comme une sorte de s\u00e9pulture conceptuelle : une action charg\u00e9e de sens sur la m\u00e9moire, la destruction et la persistance symbolique.Son travail transmet souvent une tension entre ordre et \u00e9motion r\u00e9prim\u00e9e, entre syst\u00e8me et traumatisme : l’art comme acte vital et radical.C’est une \u0153uvre qui interroge les limites entre la vie, l’espace, le corps, la m\u00e9moire et la mort dans une recherche d’ordre formel qui cache une forte charge symbolique, existentielle et \u00e9motionnelle. <\/p>\n","protected":false},"featured_media":2151,"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-1298","col-leccio","type-col-leccio","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"\nJean-Pierre Raynaud - 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\/jean-pierre-raynaud\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Jean-Pierre Raynaud - Fundaci\u00f3 St\u00e4mpfli\" \/>\n<meta property=\"og:description\" content=\"L’oeuvre Sans titre196623 x 65 x 45 cmEncadrement : agglom\u00e9r\u00e9 de bois recouvert de m\u00e9lamine hydrofuge, pot de fleurs, ciment, restes, peinture Le cube, rempli de ciment de diff\u00e9rentes tailles et couleurs, \u00e9tait la signature de Raynaud. 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