{"id":658,"date":"2014-04-20T18:13:33","date_gmt":"2014-04-20T18:13:33","guid":{"rendered":"http:\/\/paulmaheke.com\/projets\/?page_id=658"},"modified":"2024-05-29T21:02:42","modified_gmt":"2024-05-29T21:02:42","slug":"par-daniel-bosser","status":"publish","type":"page","link":"http:\/\/paulmaheke.com\/projets\/par-daniel-bosser","title":{"rendered":"Text by Daniel Bosser (Salon de Montrouge)"},"content":{"rendered":"

(faire d\u00e9filer pour la\u00a0version fran\u00e7aise)<\/span><\/p>\n

After practicing drawing, mostly large format self-portraits, while studying at the ENSA of Cergy which he left with a degree in 2011, Paul Maheke has been exploring other artistic fields in the form of actions in the urban or rural public space, usually not devoted to art.
\nWhat he calls \u201cthe light form\u201d of his action consists of leading ephemeral, minimalist, discrete activities in the most unexpected places over the course of many journeys (Europe, Reunion, Quebec, China\u2026). These actions of a ghostly wanderer often take on the form of enigmatic objects abandoned in situ like strange indications. Three small monochrome canvases left on a parking lot under a sign bearing the owner\u2019s name, small black plaques placed on protective railings that overlook a station and on which the artist has engraved the descriptions of landscapes, tree stumps covered in painting in the forest are manifestations of what he calls \u201cthe art of the ghost\u201d. Paul Maheke leaves his artistic objects the discretion of an unknown. When they find an owner, they invite him or her to question what is given as art.
\nDisappearance and reappearance intersect furtively at the corner of a street, the bend of a country road like a possibility of poetic reading of his almost immaterial practices. Paul Maheke also explores questions related to identity and otherness through actions \u2013 performances of which he is the choreographer.
\nThe generic title given to them is \u201cswaying identities\u201d (sayn\u00e8te pour un abri de gare, le crocus, le derviche et Van der Rohe\u2026) and also take place in the urban space. In saynette pour un abri de gare (skit for a station shelter) 9 characters make sort of socially coded gestures like a ritual dance in that of the whirling dervish, the dance created in the spaces of the Mies Van der Rohe Pavilion in Barcelona appears to the visitor like a mesmerising apparition that created a strong resonance with the free plane and the fluidity of transparent spaces of architecture.
\nA visual artist, but paradoxically an artist with few objects, Paul Maheke enjoys developing this art of the potential furtive encounter that induces a less authoritarian relationship with art. This discrete presence that leads it to index his work with subtlety in the urban space is a manner of fading without disappearing for as much and ensuring that each apparition results in a disappearance to be reborn and disappear again.
\nPaul Maheke never returns to the locations of his actions or his scenography. Of these furtive actions, he only keeps documentary traces that he integrates in various forms (drawings, engraved mirror, photographs, video..) in an exhibition system in which he enjoys offering the visitor the possibility of playing a part (framed works placed on the ground inducing the possibility of moving them and manipulating them like objects waiting for another life\u2026)<\/p>\n

text by Daniel Bosser for the\u00a059th Salon de Montrouge<\/em>‘s catalogue, 2014<\/p>\n

\u2014<\/p>\n

Apr\u00e8s avoir pratiqu\u00e9 le dessin, essentiellement des autoportraits de grand format, au cours de ses \u00e9tudes \u00e0 l\u2019Ensa de Cergy dont il sort dipl\u00f4m\u00e9 en 2011, Paul Maheke explore d\u2019autres champs artistiques sous formes d\u2019actions dans l\u2019espace public urbain ou champ\u00eatre habituellement non d\u00e9di\u00e9 \u00e0 l\u2019art.<\/span><\/p>\n

Ce qu\u2019il nomme \u00ab la forme l\u00e9g\u00e8re \u00bb de son intervention consiste \u00e0 mener des actions \u00e9ph\u00e9m\u00e8res, minimalistes, discr\u00e8tes, dans les lieux les plus inattendus au cours de ses nombreux voyages (Europe, Ile de la R\u00e9union, Qu\u00e9bec, Chine…). Ces actions de promeneur fant\u00f4me prennent souvent la forme d\u2019objets \u00e9nigmatiques abandonn\u00e9s sur place comme des indices \u00e9tranges. Trois petites toiles monochromes d\u00e9pos\u00e9es sur l\u2019emplacement d\u2019un parking sous l\u2019\u00e9criteau portant le nom de son propri\u00e9taire, des petites plaques noires pos\u00e9es sur les grilles de protection qui surplombent une gare et sur lesquelles l\u2019artiste a grav\u00e9 des descriptifs de paysages, des souches d\u2019arbres recouvertes de peinture en for\u00eat, sont des manifestations de ce qu\u2019il appelle \u00abl\u2019art du fant\u00f4me\u00bb.<\/span><\/p>\n

Paul Maheke laisse \u00e0 la discr\u00e9tion d\u2019un inconnu ses objets artistiques qui, lorsqu\u2019ils trouvent preneur, invitent ce dernier \u00e0 questionner ce qui est donn\u00e9 pour art. Disparition, r\u00e9apparition s\u2019entrecroisent furtivement au coin d\u2019une rue, au d\u00e9tour d\u2019un chemin de campagne, comme une possibilit\u00e9 de lecture po\u00e9tique de ces pratiques presque immat\u00e9rielles.<\/span><\/p>\n

Paul Maheke explore \u00e9galement des questions li\u00e9es \u00e0 l\u2019identit\u00e9 et \u00e0 l\u2019alt\u00e9rit\u00e9 au travers d\u2019actions-performances dont il est le chor\u00e9graphe. Elles ont pour titre g\u00e9n\u00e9rique Swaying identities (Sayn\u00e8te pour un abri de gare; Le crocus; Le derviche et Van der Rohe…) et se d\u00e9roulent \u00e9galement dans l\u2019espace urbain. Dans Sayn\u00e8te pour un abri de gare, neuf personnages effectuent une sorte de gestuelle cod\u00e9e socialement, comme une chor\u00e9graphie rituelle. Dans celle du derviche tourneur, la danse r\u00e9alis\u00e9e dans l\u2019espace du Pavillon de Mies van der Rohe \u00e0 Barcelone s\u2019offre au visiteur comme une apparition envo\u00fbtante qui entre en forte r\u00e9sonance avec le plan libre et la fluidit\u00e9 des espaces transparents de l\u2019architecture.<\/span>
\n Artiste plasticien mais paradoxalement artiste avec peu d\u2019objets, Paul Maheke se pla\u00eet \u00e0 d\u00e9velopper cet art de la rencontre potentielle et furtive qui induit un rapport moins autoritaire \u00e0 l\u2019art. Cette pr\u00e9sence discr\u00e8te qui le conduit \u00e0 indexer subtilement\u00a0son travail dans l\u2019espace urbain est une mani\u00e8re de s\u2019effacer sans pour autant dispara\u00eetre, et de faire en sorte que chaque apparition entra\u00eene une disparition pour rena\u00eetre et dispara\u00eetre \u00e0 nouveau.<\/span><\/p>\n

Paul Maheke ne revient jamais sur les lieux de ses actions ou de ses sc\u00e9nographies. Il ne garde de ses interventions furtives que des traces documentaires qu\u2019il int\u00e8gre ensuite sous diverses formes (dessins, miroir grav\u00e9, photographies, vid\u00e9o…) dans un dispositif d\u2019exposition dans lequel il aime offrir au visiteur la possibilit\u00e9 d\u2019intervenir (\u0153uvres encadr\u00e9es pos\u00e9es au sol induisant la possibilit\u00e9 de les d\u00e9placer et de les manipuler comme des objets en attente d\u2019une autre vie…).<\/span><\/p>\n

texte de Daniel Bosser, catalogue du 59\u00e8me Salon de Montrouge<\/em>, 2014<\/span><\/p>\n

\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

(faire d\u00e9filer pour la\u00a0version fran\u00e7aise) After practicing drawing, mostly large format self-portraits, while studying at the ENSA of Cergy which he left with a degree in 2011, Paul Maheke has been exploring other artistic fields in the form of actions in the urban or rural public space, usually not devoted to art. What he calls […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-658","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P4E7Fe-aC","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/pages\/658","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/comments?post=658"}],"version-history":[{"count":16,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/pages\/658\/revisions"}],"predecessor-version":[{"id":3514,"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/pages\/658\/revisions\/3514"}],"wp:attachment":[{"href":"http:\/\/paulmaheke.com\/projets\/wp-json\/wp\/v2\/media?parent=658"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}