Also new is the title of a booklet of postcards made by Thierry Wet in 2002. I just
, following a large storage container to find it in a book Pincemin ... Nothing to see.
You know that on this blog we like when contemporary artists use postcards to distribute their work or even be in an edition of artist.
is the case here.
9 postcards and a detachable back by portfolio show us photographs of abandoned areas of motorway service areas, places a trifle vain.
This look is familiar to us and it seems that contemporary photography and likes to invest these ugly places, daily and certainly unlikely for both to allow us to finally see them but because they are there, just in their reality.
This also reiterates the fun and joined a picturesque concerns nothing boring postcards and photographs tell the German objective.
But ...
could move quickly on this new game if the artist Thierry Wet was not playing with us in a setting in abyss places into each other using a window or a projection screen rather a special case: the billboard.
Thus each photograph (postcard) shows one of those places with indifferent or registered in a central position in the landscape a beautiful billboard on which is displayed ... a billboard that he is always bent, destroyed or inoperative. As
to inform us of the future death of the man who is standing.
Sometimes one behind the other, repeating patterns, the panels follow like little soldiers of the communication and advertising. They pollute.
But their game here is to a large vanity and that's probably that is based on political view (yes I know ...) and office of the artist.
It does not seem that is desired by Thierry Wet telling of history, it does not seem that tells us a trip.
The succession seems risky and really underlines the lack of specificity of this kind of area that delights Philippe Vasset.
Besides what delights me is that enough micro-signs say still a territory and even sign a country: France.
Only a postcard seems made elsewhere in Britain probably because it acknowledges a taxi ... London.
The other important thing is that it is without doubt a montage of photographs and non-plant displays in real .
The artist would have wanted it but could not get its effect?
Is it rather a work that is played on a perception and not actually claim any acting out in reality?
Nothing can be said for being still silent on editorial intentions Thierry Wet. We
information as it is the 75th issue of the Cardinal Collection, Dec. 20, 2002 printed on the printing presses MEGATOP (sic) to Naintré.
Edition of 400 copies including 15 signed by the artist. (Not this one unfortunately)
The logo of the Ministry of Culture and Communication suggests a cultural action.
Each image has the same title: Thierry Wet, Always something new, 1999-2002. With more
, copyright Artel, the foundation shifting.
All this is very mysterious. Less likely
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