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Elvire Bonduelle

Elvire Bonduelle

Artiste

www.elvirebonduelle.com

Elvire Bonduelle est diplômée de l'Ecole des Beaux-arts de Paris en 2005. Elle vit à Paris et elle travaille et expose en France et à l'étranger. Elvire Bonduelle revendique le joli, l’esthétique sans abandonner le propos et le concept qu’elle transmet toujours avec une pointe d’humour et d’ironie. Elle propose, dans ses œuvres, une autre vision du monde en décalant son point de vue, comme dans « Le Meilleur Monde » un vrai-faux numéro du quotidien Le Monde à l'identique, constitué uniquement de bonnes nouvelles .
  • Texte par Jérémy Liron

    Il y a 4 ans

    / Presse / Le meilleur Monde

    Texte par Jérémy Liron
    Parfois il s’agit de dénoncer les atrocités du monde lui renvoyant à peine grossies parfois les images les plus laides qui le font. Ce fut le cas des artistes de la nouvelle objectivité, Groz, Dix, Beckmann et quelques autres. D’autres ont suivi, tantôt ironiques, dérisoires, absurdes, tantôt crus et écœurants de la sécession viennoise, Herman Nitsch en tête, jusqu’à Thomas Hirschorn aujourd’hui en passant par l'histoire du Cabaret Volltaire. Parfois, il s’agit de sonder le monde et d’en restituer objectivement, sans passion, la physionomie. C’est alors de trouver les formes susceptibles de nous approcher du réel fuyant. Enfin, et on l’a dit souvent des poètes mais ça serait réduire, l’art quelque fois consiste à opposer au tragique de la réalité un monde autre, comme un refuge. Le projet d’Elvire Bonduelle tient un peu des trois propositions et, sous une allure légère, une utopie gentille, elle nous dessine les contours d’un monde meilleur qui ne va pas sans dialoguer avec ce monde tragique que nous habitons. L’objet : un journal composé d’articles patiemment prélevés sur de nombreux numéros de manière à ne faire état que de choses positives ou du moins semblant l’être dans les termes. Bricolé et mince, il se donne à voir comme une chimère, une fragile utopie, un négatif dérisoire du monde ordinaire. Il n’est question que de réconciliation, d’espoir, de baisse des prix, de relance économique, d’aide, de processus de paix. Une échappée dans le monde sucré d’Amélie Poulain. Loin du spectaculaire macabre ou du fait divers à sensation, le meilleur monde nous offre une petite bouffée d’oxygène, nous aide à espérer encore, à croire à un autre monde possible qui, tapis au cœur de celui-ci n’attendrait que l’on veuille lui prêter attention. A peine plus de 10 pages, c’est peu, et ça sonne comme une critique discrète de la presse ordinaire se régalant de sordide, jouant de la terreur par la surenchère, ou du monde qui produit ces images. On sait que toute image, toute énonciation est nécessairement une interprétation, un cadrage, un point de vue. Chris Marker en avait fait déjà la démonstration édifiante dans sa lettre de Sibérie : toute est affaire de point de vue. Chaque point de vue change le monde. C'est peut-être un bon point de départ. 

    Jérémy Liron, lespasperdus.blogspot.com, juillet 2010.
    Suite
    Thème : Arts plastiques
  • Texte par Domitille D'Orgeval

    Il y a 4 ans

    / Presse / Dessins

    • 1 - catalogue image
      catalogue image
    • 2 - catalogue image
      catalogue image
    Les 150 dessins d'Elvire Bonduelle, rassemblés à la manière d'un catalogue raisonné, affirment leur existence comme fin en soi mais aussi comme moyen d'expression privilégié par l'artiste. Réalisés entre 2007 et aujourd'hui, ils sont exécutés avec précision et minutie, « à la règle » selon les termes d'Elvire Bonduelle, et avec un outillage simple : crayons de couleurs, feutres, stylos bille, papier au format A3 ou A4.
    Mêlant le vocabulaire de l'architecture à des motifs ornementaux et à des éléments de décoration éclectiques, ces dessins renvoient aussi bien au Pop Art de Claes Oldenburg, au design radical d'Ettore Sottsass, qu'aux espaces métaphysique de De Chirico. Souvent énigmatiques, parfois absurdes et  comiques, ils se classent en séries, qui se réfèrent par un perpétuel jeu de citations et de croisements à d'autres réalisations de l'artiste, et dont les frontières perméables semblent se moquer des typologies qu'elles recouvrent. Certains dessins décrivent des espaces ouverts sur un infini insondable et que structurent des pièces de mobilier imaginaires ou des fragments d'ornements architecturaux ; d'autres sont des univers clos et verrouillés, dont les chaises vides aux dimensions parfois disproportionnées, les bureaux d'informations désertés, évoquent le vide existentiel des salles d'attente. Plus concrète dans son propos, la série « Maison, voiture, chien », tournant en dérision le bonheur bourgeois, se livre à un inventaire drôle, féroce, et particulièrement jouissif de ses attributs, notamment celui de la maison du bonheur.
    À la manière des dessins de Bruce Nauman, ceux d'Elvire Bonduelle l'aident à penser le monde comme d'autres les concepts. Renvoyant aux relations qui existent entre les gens, les pensées et l'espace qu'ils occupent, ces dessins mettent en scène, avec l'ironie légère propre à l'artiste, notre rapport à la vie et à la mort, au plaisir et à la douleur, au passage du temps, aux rituels du quotidien.

    Domitille d'Orgeval, préface au « Catalogue raisonné – Les dessins à la règle », 250 exemplaires numérotés signés dont 25 réhaussés de couleur, Editions Onestar Press, 2011
    Suite
    Thèmes : Arts plastiques, Dessin
  • Au moyen de dessins, d'objets et de mobiliers aux formes volontairement simples et dépouillées, Elvire Bonduelle imagine depuis quelques années des "installations praticables." Ses « Moulures » ont été inspirée par celles des moulures haussmanniennes, ornements rejetés par le modernisme. Elles semblent suivre la pensée fonctionnaliste d'après laquelle la forme de l'objet doit épouser sa fonction, évacuer les détails inutiles. Elvire Bonduelle a d'abord pensé les dessiner d'après les proportions du Modulor, un standard corporel imaginé par le Corbusier. Elle les adaptera finalement aux mesures de sa propre silhouette, rappelant peut-être ainsi que le confort est affaire de chacun.Dans le cadre de l'exposition de saint Dié, cette "dictatrice du bonheur", ainsi qu'elle aime à se définir, s'attache à "concevoir" des zones de confort où s'asseoir dans l'espace d'exposition, pour en favoriser la contemplation. D'après l'artiste, les musées tendent souvent à oublier le corps pour ne favoriser que la projection mentale dans les oeuvres. En imaginant un art sur lequel on s'asseoit, Elvire Bonduelle tente ainsi de restaurer un équilibre entre le corps et le décor.
    Suite
    Thème : Arts plastiques
  • Elvire Bonduelle invites us to "Take it easy, Billy" where we are no longer brought into one of the artist's infamous "waiting rooms", but are rather invited to relax and take one's time contemplating upon the very catch phrases employed within this exhibition at onestar press; to re-learn in fact how to slow down the speed of life. Rather than killing time, we are now given the chance to regain it. Employed with such phrases as "Money Honey" (wall drawing), and a selection of black metal benches aptly entitled "Relax Max", "Cool Raoul" and "Take it easy, Billy" (upon which we are invited to take a respite) the artist's installation is lastly punctuated with a new series of never before exhibited series of whimsically drawn "Instrumental Paintings" of which there are 4 to gently remind us of those lessons we have so hurriedly forgotten to take.
    Suite
    Thème : Arts plastiques
    • 1 - Ronchini1
      Ronchini1
    • 2 - Ronchini2
      Ronchini2
    • 3 - Ronchini3
      Ronchini3
    • + 6 media(s)
    Thème : Arts plastiques
  • Moulures

    Il y a 5 ans

    / Travaux

    Thème : Arts plastiques
  • Take_It_Easy

    Il y a 5 ans

    / Travaux

    • 1 - Take_It_Easy9
      Take_It_Easy9
    • 2 - Take_It_Easy2
      Take_It_Easy2
    • 3 - Take_It_Easy7
      Take_It_Easy7
    • + 10 media(s)
    Thème : Arts plastiques
    • 1 - KHM7
      KHM7
    • 2 - RP portrait3
      RP portrait3
    • 3 - RP portrait1
      RP portrait1
    • + 15 media(s)
    Thème : Arts plastiques
  • Kate Sutton - Artforum 2016

    Il y a 6 ans

    / Presse / Kate Sutton - Artforum 2016

    Kate Sutton - Artforum 2016
    Now in its fourth iteration, Elvire Bonduelle’s ongoing curatorial project “Waiting Room” transforms gallery spaces into temporary reception areas where visitors can indulge in the kind of concentrated viewing typically only possible when one has time to kill. Bonduelle sets the stage with her own sculptures, black metal benches festooned with Styrofoam in bleached hues of blue, honeydew, and buttercream, attended by oval MDF tables, finished with surfaces suggesting white marble or speckled granite. Amedeo Polazzo’s appealingly plain ceramic vessels cluster along the windowsill, while in the far corner, Émile Vappereau’s des fleurs (some flowers), 2015, stocks an oversize aluminum vase with sprigs of spray-painted wood. When it comes to the wall-mounted work, Bonduelle purposefully avoids prioritizing process over product. The paintings revel in their own simplicity, the method of their making immediately evident, even to an untrained eye. François Morellet’s La chute des angles n° 2 (The fall of angles), 2002, tests simple manipulations of L-shaped strips of black paper, while Bernard Piffaretti’s o.T., 2013, is divided down the middle, with the thick swatches of red, yellow, and green paint from one side of the canvas replicated by hand on the other. For his series “Tutti Frutti,” 2015, Nicolas Chardon applies a thin coat of white acrylic to gingham fabric, painting in sections of the patterned grid to create monochrome blocks, while Bonduelle echoes the Styrofoam waves of her benches for the diptych Frise n° 22 A, B, 2015. While there is something laudable in the attempts to advocate a more substantial engagement with the internal rhythms of seemingly quiet compositions, “Waiting Room” ultimately risks implying that these works require a captive audience.

    Kate Sutton – January 2016 – Artforum - Critic's picks
    Suite
    Thème : Arts plastiques
  • Waiting room #4 by Maria Ines Plaza

    Il y a 6 ans

    / Presse / Waiting room #4 - M. I. Plaza

    Waiting room #4 by Maria Ines Plaza
    "The conditions for looking at art are miserable. Shows are often full of people, a few of whom are idiots. You can only stand and look, usually past someone else. No space, no privacy, no sitting or lying down, no drinking or eating, no thinking, no living. It’s all a show. It’s just information."
    Donald Judd, Complete Writings 1959-1975
    waiting room #4 is the fourth installment of an exhibition series based on the idea that waiting rooms offer an ideal situation for the contemplation of artworks.
    Comment by MARÍA INÉS PLAZA for Reflektor-M, 28. NOV 2015
    WAIT AND SEE.
    Twenty days ago, Elvire Bonduelle and I had an Espresso in the corner of a bus station in Torino, where she gave me the book she published with her Parisian gallery Laurent Mueller. It inherits fifteen excerpts chosen by friends of the artist, with a portfolio of  Salle d’Attente III, to which  Waiting Room #4  belongs in a very subjective, personal tradition to which Elvire Bonduelle has been curating her own shows.
    A quote by Donald Judd is the first key to enter the concept of the series on the ideal spatio-temporal parenthesis for seeing art; every curator fantasizes with the means and possibilities of this topos. To her, waiting rooms are the ones to end with the dilemma. “We see nothing”, she says when we have to force our gaze into the thirty seconds or the few minutes we dedicate to art pieces during a museum- gallery or an off-space visit. But in waiting rooms, we do not control time, and Bonduelle works are to be seen as an invitation to relax;  “to exit the relationship of domination that everyone wants to exert on events”.
    You could tell, Bonduelle’s gaze demands slowness and physical inactivity to appreciate the works; because we are easily distracted by other people and our own thoughts, art turns into a negligibility. The Rijksmuseum in Amsterdam has hung a huge banner with a prohibition sign for cameras on Saturdays, so people start drawing what they see. As the majority of spectators now use a smartphone as a compensation for the lack of will to contemplate art, to immerse our thoughts in what we see transforms into the challenge. Bonduelle doesn’t force the gallery visitor to put the camera away, but rather to enter the state of simulacrum that a waiting room provokes. The idea of the waiting room as the possible space for comfortable contemplation doesn’t reduce itself to the medical context, but the spaces we know we get to only wait: A metro/bus station, the anteroom to the toilettes were we can look ourselves at the mirror, the transit zones at airports.
    Oscar Santillán said something at a dinner referring to waiting rooms also as a state of mind. A waiting room can thus be the blue notifications on Whatsapp, the status of the other person while typing, the green/grey dots that tell us on facebook who is online and who isn’t.
    A waiting room in Bonduelle’s terms can be compared with the neon installation of Flaka Haliti at Prince of Wales  “I see that you have seen that I have seen”(your message), or the platonic and futuristic western scenario at  ‘The Good, the Bad and the Ugly’  from Konstantin Grcic.
    The furniture pieces Bonduelle presents in a way they’re an excuse to reevaluate the means of introducing an artwork into a space that is already habited by other objects. The naked foam and the asymmetric chair legs near the vases of Amedeo Polazzo combine the unintentional gesture with conceptual perfectionism, while the so called Tutti-Frutti canvases of Nicolas Chardon converts the abstract use of color surfaces, into extent of body movements as if they would literally dance out of the wall.
    "(…) I would admit that at the origin of the waiting room concept, are two very personal handicaps: A great difficulty in concentrating without being alone, and a fairly poor circulation mean standing-still for long periods of time is uncomfortable."
    Émile Vappereau’s sort of palm tree, out of residual pieces in a huge metal vase and the color field magazine of Olaf Nicolai, mimetize certainly that random situations of watching something unintentionally and suddenly realizing the material masquerade-game the artists play.
    Bonduelle’s request could be understood as an egoistic act, as the subjectivities of the erratic way things installed at Sperling are subordinated to the artist’s stoic pursuits. It could be formulated the other way around: It is actually an exceptional offer to discover something beyond the exhibition by sitting in the chairs she makes, while her canvases can be rotated, putting the genealogy of painting as a certain absurdity, but also creating a very unusual atmosphere in a gallery: The sense to the spectators that whatever we do – sit, stand or hang around - it will influence the space.
    "The conditions for looking at art are miserable. Shows are often full of people, a few of whom are idiots. You can only stand and look, usually past someone else. No space, no privacy, no sitting or lying down, no drinking or eating, no thinking, no living. It’s all a show. It’s just information."
    Donald Judd, Complete Writings 1959-1975

    Waiting room #4 is the fourth installment of an exhibition series based on the idea that waiting rooms offer an ideal situation for the contemplation of artworks.

    A text by MARÍA INÉS PLAZA for Reflektor-M, 28. NOV 2015

    WAIT AND SEE.
    Twenty days ago, Elvire Bonduelle and I had an Espresso in the corner of a bus station in Torino, where she gave me the book she published with her Parisian gallery Laurent Mueller. It inherits fifteen excerpts chosen by friends of the artist, with a portfolio of  Salle d’Attente III, to which  Waiting Room #4  belongs in a very subjective, personal tradition to which Elvire Bonduelle has been curating her own shows.

    A quote by Donald Judd is the first key to enter the concept of the series on the ideal spatio-temporal parenthesis for seeing art; every curator fantasizes with the means and possibilities of this topos. To her, waiting rooms are the ones to end with the dilemma. “We see nothing”, she says when we have to force our gaze into the thirty seconds or the few minutes we dedicate to art pieces during a museum- gallery or an off-space visit. But in waiting rooms, we do not control time, and Bonduelle works are to be seen as an invitation to relax;  “to exit the relationship of domination that everyone wants to exert on events”.

    You could tell, Bonduelle’s gaze demands slowness and physical inactivity to appreciate the works; because we are easily distracted by other people and our own thoughts, art turns into a negligibility. The Rijksmuseum in Amsterdam has hung a huge banner with a prohibition sign for cameras on Saturdays, so people start drawing what they see. As the majority of spectators now use a smartphone as a compensation for the lack of will to contemplate art, to immerse our thoughts in what we see transforms into the challenge. Bonduelle doesn’t force the gallery visitor to put the camera away, but rather to enter the state of simulacrum that a waiting room provokes. The idea of the waiting room as the possible space for comfortable contemplation doesn’t reduce itself to the medical context, but the spaces we know we get to only wait: A metro/bus station, the anteroom to the toilettes were we can look ourselves at the mirror, the transit zones at airports.

    Oscar Santillán said something at a dinner referring to waiting rooms also as a state of mind. A waiting room can thus be the blue notifications on Whatsapp, the status of the other person while typing, the green/grey dots that tell us on facebook who is online and who isn’t.A waiting room in Bonduelle’s terms can be compared with the neon installation of Flaka Haliti at Prince of Wales  “I see that you have seen that I have seen”(your message), or the platonic and futuristic western scenario at  ‘The Good, the Bad and the Ugly’  from Konstantin Grcic.

    The furniture pieces Bonduelle presents in a way they’re an excuse to reevaluate the means of introducing an artwork into a space that is already habited by other objects. The naked foam and the asymmetric chair legs near the vases of Amedeo Polazzo combine the unintentional gesture with conceptual perfectionism, while the so called Tutti-Frutti canvases of Nicolas Chardon converts the abstract use of color surfaces, into extent of body movements as if they would literally dance out of the wall."(…) I would admit that at the origin of the waiting room concept, are two very personal handicaps: A great difficulty in concentrating without being alone, and a fairly poor circulation mean standing-still for long periods of time is uncomfortable."Émile Vappereau’s sort of palm tree, out of residual pieces in a huge metal vase and the color field magazine of Olaf Nicolai, mimetize certainly that random situations of watching something unintentionally and suddenly realizing the material masquerade-game the artists play.

    Bonduelle’s request could be understood as an egoistic act, as the subjectivities of the erratic way things installed at Sperling are subordinated to the artist’s stoic pursuits. It could be formulated the other way around: It is actually an exceptional offer to discover something beyond the exhibition by sitting in the chairs she makes, while her canvases can be rotated, putting the genealogy of painting as a certain absurdity, but also creating a very unusual atmosphere in a gallery: The sense to the spectators that whatever we do – sit, stand or hang around - it will influence the space.
    Suite
    Thème : Arts plastiques