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Antoine Béchara

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Ab-in-court

Birthplace
Lebanon

Lives in
Paris, France

Works in
Paris, France

Tags
sculpture, photography, installation, magnetic

Statement

I produce photo assemblages of my visions of life forms: bodies, leaves, insects etc. Little by little, I got the idea of MAGNETIZING them.

Magnetizing expresses the feeling of being captured in hyperspace. The idea that everything is drawn to and attracted by the magnetic field of the cosmos. A photo fragment glued to a magnetic rubber is intended for movement. The resulting work of art is thus ephemeral and permanent. It symbolizes the ends at their point of equilibrium: polarity (North and South Pole), attraction and repulsion (+ -).

 

The magnetic field symbolizes the mysterious force that is exercised, the driving forces of which remain invisible. When I create a magnetic web, I use:

- mobility: I move and slide objects

- a game: I stack, separate, insert, remove and adapt. The objects are like cards. They are made to be touched, manipulated, thrown and take off like a flying carpet…

- creativity: the jigsaw puzzle is not predetermined. There is not just one but several ways of arranging it. I can proceed through inclination, superposition, rotation, upside down, etc.

- the multiplicity of backgrounds: sheet metal, radiator, balcony railings, car or specific installation. If I use so-called "magnetic" paint, the background has no more limits. The object can appear any time, anywhere …

 

Execution of the first magnetic works led me to wonder about the place of the work: at what point there is a work of art. Where the work is located. I still don't have the answer. I thought of the day when pupils from a nursery school in St Ouen came to look at my magnetic cuttings. I let them handle the cuttings and place them on the metal support. Everyone held an object that was equal to them in size. Looking at them, I understood that the work of art could be volatile. Here and there, simultaneously: in the gesture of placing or throwing the magnetic platform (hyperspace) and in a permanent state of contact. It is impossible to visualize or imagine the forces in play when a magnetic object adheres to another or a conductor medium. These forces are tense at all times. They act in the same way as the earth's magnetic field which changes the direction of compass needles. The magic of attraction is permanent. It is perceivable even when contemplating the work fixed to a wall, like a promise, that of its forthcoming evolution, its mutation to a more exact state, different and more beautiful.

Even though the countless potentialities are not immediately translated into action they reveal the sensation induced, the texture of the magnetic work of art: hence the idea one has, the ability to slide on the backing, to be "peeled", to be captured, to stand alone as if by magic. The work floats before our inquisitive look. What is going to happen? Worried: how long will it last? And especially, tomorrow, if I want I can change such and such a pattern and move another. The work is alive at all moments in time, like a kaleidoscope formed by the same parts but whose arrangement at a particular moment gives an absolutely unique vision.

Just a word on my technique. The photos are first of all assembled and cut. The outlines are formed. I then glue them to the magnetic rubber. This rubber is then cut to have exactly the same outline as the photo assemblage. The result is an object that is manipulable, flexible, with a certain thickness (around 1.5 mm) that can be attached to a ferrous medium through magnetic attraction: sheet steel, railing, wall painted with so-called "magnetic" paint, etc.

Its magnetic constitution gives the object a thickness, a weight and a totally new plasticity. The texture is changed. The photo, intended to bend, twist and turn, does not have the same texture, the same smoothness as a traditional framed photo. Under the photographic skin, the point where the artist's fingers exercised pressure can be seen, set and sealed in the glue of the magnetic rubber. The photo becomes this grained skin. Imperfections can also be seen. The epidermic film starts to come alive.

It's as if the cerebral, mental imagination was coupled with the sensitive, tactile imagination of the blind. That is one of the reasons why I call these works photographic sculptures.

 

To see more:  http://antoinebechara.free.fr.

 

PRIX

  • Lauréat bourse du FRAC (Fonds Régional d’Art Contemporain) d’Ile de France. Concours : peinture et cinéma. Mai 1995.
  • 1ère Mention Art - Déco. Salon des artistes présents 1998. Le Bourget. Novembre 1998.
  • 1er Grand Prix International de Cannes section collage. Mars 1995.
  • 1er Grand Prix International de la Côte d’Azur section collage et mention spéciale section matiérisme. Mars 1993.
  • 4ème Grand Prix International de Deauville section technique mixte. Eté 1992.

EXPOSITIONS , EVENEMENTS ET INSTALLATIONS

· Exposition « Deep Red …and miscellaneous colours » La Courneuve. Décembre 2006

· Fresque magnétique évolutive en cours au Lina’s Clichy à partir de Septembre 2006

· « Les nouvelles métamorphoses » Festival IN-La Mothe St Héret. Juillet 2006

· Exposition personnelle au Lina’s Victoires – Mai, Juin 2006.

· Traversée d’Art – St Ouen- Exposition à l’atelier d’Yves Legros : « feuilles d’arbre magnétiques » présentation scolaire et performance avec les enfants .Mai 2006

· « Je suis une feuille » exposition chez Eric et Corrinne Ledru. Châtillon. Octobre 2005

· « Les nouvelles métamorphoses » Festival OFF - La Mothe St Héret. Juillet 2005

· Festival International d’Art Contemporain de Chizé : Performance. Juillet 2004.

· Salon de Saint Ouen. Château de Saint Ouen. Mai 2003.

· Exposition du Comité d'Entreprise Bérim. Pantin. Novembre 2002.

· Exposition «Peinture Sculpture Poésie Blaise Cendrars». Espace 1789 St Ouen. Avril 2001.

· Exposition "AVATARS" au Château de St Ouen (93). Janvier 2000.

· Invité du Salon d'Automne de Roussé. Bulgarie. Novembre 1999.

· Exposition à "La Fourmi". Paris. Juin 1999.

· Grand Marché d'Art Contemporain. Paris. Mai 1999.

· Exposition au Heaven's Café. Paris. Avril 99.

· Exposition au Gobe Lune. Paris. Mars 99.

· Exposition Galerie "Dépôt Matignon". Paris. Nov.98- Février 1999.

· Salon des artistes présents. Le Bourget. Novembre -Décembre 1998.

· Salon de l'artistique de l'Isle-Adam. Isle- Adam. Novembre 1998.

· 66ème salon d'Etampes. Etampes. Octobre 1998.

· Salon "ARTEC JAPON 98". Yokohama. Japon. Août 1998.

· Exposition Galerie "Dépôt Matignon". Paris. Juin 1998.

· Exposition "SEOUL GALLERY». Séoul, Corée du Sud. Juin 1998.

· Exposition Echange d'Art International. Atelier Visconti. Paris. Mai 1998.

· Grand Marché d'Art Contemporain. Paris. Mai 1998.

· Salon de Saint Ouen. Château de Saint Ouen. Mai 1998.

· Exposition. Les ateliers d'artistes. Deauville. Avril 1998.

· Exposition Collage, Assemblage. Saint Ouen 93. Mars 1998.

· Salon Violet. Paris. Galerie de Nesle. Mars 1998.

· Château de Goulaine. Loire Atlantique. Mars 1998.

· Salon des Surindépendants. Espace Herouet. Paris. Janvier 1998.

· Salon d'Automne. Paris. Espace Eiffel-Branly. Novembre 1997.

· 65ème salon d'Etampes. Etampes. Octobre 1997.

· Week-end d'Art Contemporain. Gometz le Chatel 91. Octobre 1997.

· Salon d'hiver. Paris. Galerie de Nesle. Septembre 1997.

· Grand Prix de peinture de Cannes. Mars 1995.

· Grand Prix de Deauville.  Juin 1993.

· Biennale d’Ypres. Belgique. Mai 1993.

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