{"id":990,"date":"2012-04-28T12:51:00","date_gmt":"2012-04-28T10:51:00","guid":{"rendered":"https:\/\/stam.mmkt.dev\/exposicions\/erro-loeil-planetaire\/"},"modified":"2026-02-01T23:17:57","modified_gmt":"2026-02-01T22:17:57","slug":"erro-loeil-planetaire","status":"publish","type":"exposicio","link":"https:\/\/www.fundacio-stampfli.org\/fr\/expositions\/erro-loeil-planetaire\/","title":{"rendered":"Err\u00f3. L\u2019\u0153il plan\u00e9taire"},"content":{"rendered":"\n

Err\u00f3. L\u2019\u0153il plan\u00e9taire est la premi\u00e8re exposition que la Fundaci\u00f3 St\u00e4mpfli consacre \u00e0 un artiste de sa collection. Peintre reconnu internationalement, Err\u00f3 a d\u00e9velopp\u00e9 un langage personnel qui ironise sur la confusion du monde actuel. L\u2019exposition pr\u00e9sente dans les Espais 2 et 3 une s\u00e9lection de peintures et de collages appartenant \u00e0 certaines de ses s\u00e9ries les plus embl\u00e9matiques telles que The Political Paintings, Le tour du monde de Mao, Les lettres d\u2019amour japonais et Les femmes fatales. Ces \u0153uvres mettent en \u00e9vidence les principales caract\u00e9ristiques de son travail, centr\u00e9 sur la manipulation de milliers d\u2019images provenant des mass media, de la bande dessin\u00e9e, de la publicit\u00e9 ou de l\u2019histoire de l\u2019art. <\/p>\n\n

L\u2019exposition s\u2019inscrit dans le contexte de la collection permanente de la Fundaci\u00f3 St\u00e4mpfli, qui compte parmi ses fonds un noyau important d\u2019\u0153uvres li\u00e9es \u00e0 la Figuration narrative, courant apparu \u00e0 Paris dans les ann\u00e9es 60 en r\u00e9ponse au pop art am\u00e9ricain. L\u2019Espai 1 r\u00e9unit une s\u00e9lection de peintures de quelques-uns de ses repr\u00e9sentants les plus significatifs, tels qu\u2019Eduardo Arroyo, Jacques Monory, Peter St\u00e4mpfli et Err\u00f3 lui-m\u00eame, entre autres. <\/p>\n\n

\"\"<\/figure>\n\n

\u0152uvres de la collection de la Fondation li\u00e9es \u00e0 la figuration<\/h3>\n\n

Les 11 artistes r\u00e9unis dans cette salle partagent le m\u00eame lien avec la peinture figurative, qu\u2019il s\u2019agisse d\u2019images de la r\u00e9alit\u00e9 stylis\u00e9es, d\u00e9coup\u00e9es et recompos\u00e9es (Peter Klasen), de d\u00e9tails agrandis qui la transfigurent (Peter St\u00e4mpfli), de repr\u00e9sentations r\u00eav\u00e9es (Jacques Monory), de th\u00e8mes sociaux (Antonio Segu\u00ed), d\u2019une vision futuriste (Err\u00f3) ou de figures all\u00e9goriques (Bernard Rancillac).<\/p>\n\n

\u2018The Political Paintings\u2019<\/h3>\n\n

Habitu\u00e9 \u00e0 travailler en s\u00e9ries th\u00e9matiques, Err\u00f3 r\u00e9alisa au cours de plusieurs ann\u00e9es les peintures de The Political Paintings (1967-1996), qui constituent une sorte d\u2019\u00e9pop\u00e9e de notre histoire r\u00e9cente. Jouant avec l\u2019accumulation \u00e9crasante d\u2019images, Err\u00f3 interroge la r\u00e9alit\u00e9 afin d\u2019offrir une perspective singuli\u00e8re sur certains des \u00e9v\u00e9nements politiques et sociaux les plus significatifs de notre \u00e9poque. <\/p>\n\n

\u2018Le tour du monde de Mao\u2019<\/h3>\n\n

Au d\u00e9but des ann\u00e9es 70, Err\u00f3 rassembla une importante documentation sur la propagande de la R\u00e9publique Populaire de Chine, qui lui inspira l\u2019une de ses s\u00e9ries les plus c\u00e9l\u00e8bres, dans laquelle il repr\u00e9sente Mao dans diff\u00e9rentes villes du monde. De ce travail naquirent des tableaux insolites o\u00f9 la juxtaposition d\u2019images sans lien entre elles produit un choc visuel non d\u00e9nu\u00e9 d\u2019ironie. <\/p>\n\n

\u2018Les femmes fatales\u2019<\/h3>\n\n

En 1963, alors qu\u2019il vivait \u00e0 New York, Err\u00f3 commen\u00e7a \u00e0 incorporer la bande dessin\u00e9e dans son \u0153uvre, partageant ainsi avec les artistes du pop art leur int\u00e9r\u00eat pour la culture populaire. Depuis cette p\u00e9riode, la bande dessin\u00e9e est devenue une r\u00e9f\u00e9rence habituelle dans sa cr\u00e9ation. La s\u00e9rie Les femmes fatales fait partie d\u2019un hommage \u00e0 la bande dessin\u00e9e am\u00e9ricaine, en particulier aux superwomen, mythe de la femme agressive de la civilisation occidentale. <\/p>\n\n

\u2018Les lettres d\u2019amour japonais\u2019<\/h3>\n\n

Cette s\u00e9rie d\u2019huiles occupe une place singuli\u00e8re dans la carri\u00e8re d\u2019Err\u00f3, bien qu\u2019elle soit en parfaite harmonie avec son int\u00e9r\u00eat pour la narration d\u2019histoires \u00e0 travers la peinture. En 1970, il fut fascin\u00e9 par un ancien livre trouv\u00e9 au Japon qui contenait des lettres et des photographies de jeunes couples. \u00c0 partir de cette documentation, il r\u00e9alisa une s\u00e9rie d\u2019huiles \u00e9voquant les relations d\u2019amour et d\u2019amiti\u00e9 entre ces h\u00e9ros myst\u00e9rieux. Plus tard, il d\u00e9couvrit que leurs protagonistes \u00e9taient des intellectuels de premier plan qui, dans les ann\u00e9es 1920, se rebell\u00e8rent contre la scl\u00e9rose de la soci\u00e9t\u00e9 nippone. <\/p>\n\n

\u2018Los collages<\/strong>\u2019<\/h3>\n\n

Depuis le d\u00e9but de sa carri\u00e8re, Err\u00f3 est un virtuose du collage, qu\u2019il r\u00e9alise \u00e0 partir d\u2019une impressionnante documentation provenant de revues, de propagande politique, de catalogues, de bandes dessin\u00e9es, de dictionnaires illustr\u00e9s, etc. Dans la tradition des surr\u00e9alistes, Err\u00f3 invente des associations surprenantes en m\u00e9langeant des images sans lien apparent entre elles, de sorte que chaque composition provoque chez le spectateur une sorte de d\u00e9charge \u00e9lectrique. Con\u00e7us comme des \u0153uvres autonomes, ces collages lui servent \u00e9galement de mod\u00e8les pour ses peintures. <\/p>\n\n

Relation avec l\u2019art<\/strong><\/h3>\n\n

Err\u00f3 a toujours entretenu des complicit\u00e9s \u00e9troites avec l\u2019histoire de l\u2019art, offrant dans ses tableaux une nouvelle lecture d\u2019\u0153uvres tr\u00e8s connues, afin de cr\u00e9er des images percutantes et souvent subversives. Joan Mir\u00f3, Henri Matisse et surtout Fernand L\u00e9ger comptent parmi les artistes qui l\u2019ont inspir\u00e9. <\/p>\n\n

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