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(641,	NULL,	2,	'2018-08-23 10:07:08',	'2018-08-23 10:07:08',	'<p>She got food poisoning and had an evil sorry time of it.</p>',	'<p>&laquo;&nbsp;J&rsquo;adore cette th&eacute;orie parce qu&rsquo;elle nous r&eacute;concilie avec la plan&egrave;te&nbsp;&raquo;.</p>',	'Detour 1',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/assorted-infrastructure/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-1',	'detour-1',	NULL,	'',	'',	'2018-10-27 19:25:48',	NULL,	'2018-10-27 19:25:48',	'2023-12-29 21:27:06',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=641',	0,	'detour',	'',	0),
(643,	NULL,	2,	'2018-08-23 10:09:34',	'2018-08-23 10:09:34',	'<p>No guilt trip from me but the kids were a bit disappointed you weren&#39;t coming.</p>',	'<p>Je l&rsquo;ai connue &agrave; l&rsquo;&eacute;poque o&ugrave; elle &eacute;tait encore aimable&hellip;</p><p>C&rsquo;est dire.</p>',	'Detour 2',	'Detour 2',	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/autres/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-2',	'detour-2',	NULL,	'',	'',	'2018-10-27 19:24:16',	NULL,	'2018-10-27 19:24:16',	'2023-12-30 21:17:54',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=643',	0,	'detour',	'',	0),
(647,	NULL,	2,	'2018-08-23 10:16:36',	'2018-08-23 10:16:36',	'<p>They joined her in singing earnest songs of struggles for peace, love and happiness. I found it all incredibly painful.</p>',	'<p>L&rsquo;alchimie du voyage a &eacute;t&eacute; compromise par un nouveau passager.</p>',	'Detour 3',	'Detour 3',	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/posters/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-3',	'detour-3',	NULL,	'',	'',	'2018-10-27 19:23:04',	NULL,	'2018-10-27 19:23:04',	'2023-12-29 21:36:20',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=647',	0,	'detour',	'',	0),
(663,	NULL,	2,	'2018-08-23 14:40:19',	'2018-08-23 14:40:19',	'<p>I went to my yoga class anyway. It was good and the hostages had been freed by the time I got home.</p>',	'<p>Pendant des heures, ils ont travers&eacute; des paysages &agrave; betterave.</p>',	'Detour 4',	'Detour 4',	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/tree-drawings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-4',	'detour-4',	NULL,	'',	'',	'2018-09-06 14:28:53',	NULL,	'2018-09-06 14:28:53',	'2023-12-30 21:26:24',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=663',	0,	'detour',	'',	0),
(664,	NULL,	2,	'2018-08-23 14:41:47',	'2018-08-23 14:41:47',	'<p>I expected marvels and settled for cheap and nasty with television blaring.</p>',	'<p>L&rsquo;appartement &eacute;tait bas de plafond et n&eacute;glig&eacute;,</p><p>&agrave; l&rsquo;image de son propri&eacute;taire.</p>',	'Detour 5',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/road-signs/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-5',	'detour-5',	NULL,	'',	'',	'2018-10-27 19:22:07',	NULL,	'2018-10-27 19:22:07',	'2024-01-01 21:33:19',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=664',	0,	'detour',	'',	0),
(665,	NULL,	2,	'2018-08-23 14:43:07',	'2018-08-23 14:43:07',	'<p>Got back to the hotel before it started raining. The cleaning lady was still taking to my floor with bleach.</p>',	'<p>Les hauts parleurs accroch&eacute;s aux poteaux</p><p>se sont mis &agrave; diffuser de la musique folklorique.</p>',	'Detour 6',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/posters/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-6',	'detour-6',	NULL,	'',	'',	'2018-10-29 11:59:10',	NULL,	'2018-10-29 11:59:10',	'2024-01-01 21:33:53',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=665',	0,	'detour',	'',	0),
(1309,	NULL,	3,	'2018-09-01 15:13:38',	'2018-09-01 15:13:38',	'Not sure why she wants to know your budget.\r\n\r\nTell her nothing. I’ll investigate.',	'<p>Le <em>banana roti</em> était si bon qu’elle s’est laissée aller à un troisième.</p>\n',	'Detour 6.5',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/industrial-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-6-2',	'detour-6-2',	NULL,	'',	'',	'2018-10-27 19:16:21',	NULL,	'2018-10-27 19:16:21',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1309',	0,	'detour',	'',	0),
(1314,	NULL,	3,	'2018-09-01 15:14:46',	'2018-09-01 15:14:46',	'<p>joan jett gay gaychat gay superheroes gay dog gays online</p>',	'<p>Journ&eacute;e id&eacute;ale. Temps cl&eacute;ment, pas de vent.</p>',	'Detour 7',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/ecussons/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-7',	'detour-7',	NULL,	'',	'',	'2018-10-27 19:15:39',	NULL,	'2018-10-27 19:15:39',	'2024-01-01 21:34:30',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1314',	0,	'detour',	'',	0),
(1315,	NULL,	3,	'2018-09-01 15:15:59',	'2018-09-01 15:15:59',	'<p>Kids get in free. The question is how badly do the grown-ups want to see the <em>Mona Lisa</em>?</p>',	'<p>Wally est venu me chercher &agrave; la gare.</p><p>On s&rsquo;est mis d&rsquo;accord sur $60 par jour.</p>',	'Detour 8',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/drawings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-8',	'detour-8',	NULL,	'',	'',	'2021-04-26 08:52:41',	NULL,	'2021-04-26 08:52:41',	'2024-01-01 21:35:06',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1315',	0,	'detour',	'',	0),
(1316,	NULL,	3,	'2018-09-01 15:16:55',	'2018-09-01 15:16:55',	'<p>I am closing down my refugee entertainment committee, which never took off, to focus on writing my dissertation.</p>',	'<p>Il y a des lacs laiteux bizarres. J&#39;aime.</p>',	'Detour 9',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/drawings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-9',	'detour-9',	NULL,	'',	'',	'2018-09-06 14:24:54',	NULL,	'2018-09-06 14:24:54',	'2024-01-01 21:35:37',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1316',	0,	'detour',	'',	0),
(1317,	NULL,	3,	'2018-09-01 15:19:18',	'2018-09-01 15:19:18',	'“See how I’m ignoring you?”',	'<p>L’établissement a une page Facebook.</p>\n<p>Il y a des opossums dans le toit.</p>\n',	'Detour 10',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/meymac-bonfire-2009/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-10',	'detour-10',	NULL,	'',	'',	'2018-10-27 19:13:38',	NULL,	'2018-10-27 19:13:38',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1317',	0,	'detour',	'',	0),
(1329,	NULL,	3,	'2018-09-01 15:20:13',	'2018-09-01 15:20:13',	'<p>Statistically, it seems embezzlers who get caught don&rsquo;t often do it again.</p>',	'<p>&Agrave; l&rsquo;h&ocirc;tel, on loue des kits BBQ pour faire cuire des saucisses sur le balcon.</p>',	'Detour 11',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/museums-of-the-world-yogyakarta/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-11',	'detour-11',	NULL,	'',	'',	'2018-10-27 19:11:19',	NULL,	'2018-10-27 19:11:19',	'2023-12-29 21:35:08',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1329',	0,	'detour',	'',	0),
(1330,	NULL,	3,	'2018-09-01 15:21:20',	'2018-09-01 15:21:20',	'<p>After Karen sent him a photo of the birthday cake, he texted back &quot;Fuck, I meant to ring.&quot;</p>',	'<p>La dame &agrave; l&#39;accueil me promet de la nourriture contemporaine.</p><p>Des frites, d&#39;accord, mais pas du tout <em>pub food</em>.</p>',	'Detour 12',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/suburbias/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-12',	'detour-12',	NULL,	'',	'',	'2021-04-26 11:57:29',	NULL,	'2021-04-26 11:57:29',	'2023-12-29 21:33:34',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1330',	0,	'detour',	'',	0),
(1331,	NULL,	3,	'2018-09-01 15:23:09',	'2018-09-01 15:23:09',	'<p>Great! Thanks. I suppose no one has to know they are minors.</p>',	'<p>J&#39;&eacute;tais tent&eacute;e par une assiette souvenir</p><p>du couronnement de la reine&nbsp;pour $40 mais o&ugrave; la mettre ?</p>',	'Detour 13',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/industrial-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-13',	'detour-13',	NULL,	'',	'',	'2018-09-06 14:23:05',	NULL,	'2018-09-06 14:23:05',	'2023-12-29 21:38:00',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1331',	0,	'detour',	'',	0),
(1332,	NULL,	3,	'2018-09-01 15:24:57',	'2018-09-01 15:24:57',	'<p>Here are my dates at your place based on current planning:</p>',	'<p>Ils sont en phase 4 de restrictions d&#39;eau donc mollo sur les douches.</p>',	'Detour 14',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/museums-of-the-world-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-14',	'detour-14',	NULL,	'',	'',	'2018-10-27 19:08:45',	NULL,	'2018-10-27 19:08:45',	'2023-12-30 21:12:51',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1332',	0,	'detour',	'',	0),
(1333,	NULL,	3,	'2018-09-01 15:25:59',	'2018-09-01 15:25:59',	'<p>Have you arrived safely in Australia? Send news of the old country.</p>',	'<p>J&rsquo;ai vue sur un zoo.</p><p>Un grand chameau erre sous la neige. Quelques biches, des lamas.</p>',	'Detour 15',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/museums-of-the-world-drawings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-15',	'detour-15',	NULL,	'',	'',	'2018-10-27 19:07:29',	NULL,	'2018-10-27 19:07:29',	'2023-12-30 21:14:03',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1333',	0,	'detour',	'',	0),
(1334,	NULL,	3,	'2018-09-01 15:27:06',	'2018-09-01 15:27:06',	'<p>We enjoyed the view of a power station while waiting for our meal of strange yellow mollusks.</p>',	'<p>Repas infecte,</p><p>puis visite au mus&eacute;e national presque vide de contenu &agrave; cause des travaux.</p>',	'Detour 16',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/drawings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-16',	'detour-16',	NULL,	'',	'',	'2019-04-29 07:32:37',	NULL,	'2019-04-29 07:32:37',	'2023-12-30 21:14:51',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1334',	0,	'detour',	'',	0),
(1335,	NULL,	3,	'2018-09-01 15:28:36',	'2018-09-01 15:28:36',	'It is snowing. The Hairy One is in her element.',	'<p>J\'espérais voir le cadavre poussiéreux de Tito</p>\n<p>mais il repose désormais sous un énorme morceau de marbre blanc.</p>\n',	'Detour 17',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/from-i-to-k/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-17',	'detour-17',	NULL,	'',	'',	'2018-09-06 14:20:55',	NULL,	'2018-09-06 14:20:55',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1335',	0,	'detour',	'',	0),
(1346,	NULL,	3,	'2018-09-01 15:29:33',	'2018-09-01 15:29:33',	'<p>His nephew has been on a drinking bender ever since he received the insurance payout.</p>',	'<p>Le seul wifi dans cette ville est chez McDo</p><p>donc tu auras ce message de Mildura demain.</p>',	'Detour 18',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/souvenirs/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-18',	'detour-18',	NULL,	'',	'',	'2018-10-27 19:02:18',	NULL,	'2018-10-27 19:02:18',	'2023-12-30 21:15:45',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1346',	0,	'detour',	'',	0),
(1347,	NULL,	3,	'2018-09-01 15:30:19',	'2018-09-01 15:30:19',	'Uggghh… real Bitch of a casting :(\r\n\r\nWanted me to improvise with my accent.\r\n\r\nNeeext!!',	'<p>J\'ai mangé dans un restaurant vide, prix 2014 de Tripadvisor :</p>\n<p>salade originale, puis charcuterie infecte.</p>\n<p>&nbsp;</p>\n',	'Detour 19',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/flower-drawings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-19',	'detour-19',	NULL,	'',	'',	'2021-04-26 09:46:15',	NULL,	'2021-04-26 09:46:15',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1347',	0,	'detour',	'',	0),
(1348,	NULL,	3,	'2018-09-01 15:31:16',	'2018-09-01 15:31:16',	'Hey, wanna come out to play tomorrow?\r\n\r\nI’ll tell you why you should never go to Bari.',	'<p>Ce n’est pas évidant de singer les constructions de l’Empire romain</p>\n<p>sans marbre et sans esclaves.</p>\n',	'Detour 20',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/exhibitions-2012-2014/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-20',	'detour-20',	NULL,	'',	'',	'2021-04-26 09:47:25',	NULL,	'2021-04-26 09:47:25',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1348',	0,	'detour',	'',	0),
(1349,	NULL,	3,	'2018-09-01 15:32:17',	'2018-09-01 15:32:17',	'Perfect. If they can’t do office hours, they’ll have to find the spare keys.\r\n\r\nThanks, pet.',	'<p>Au nom de l\'audace, nous avons commandé</p>\n<p>des mollusques jaunes sautés aux poivrons verts.</p>\n',	'Detour 21',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/exhibitions-2000-2011/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-21',	'detour-21',	NULL,	'',	'',	'2021-04-26 11:30:19',	NULL,	'2021-04-26 11:30:19',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1349',	0,	'detour',	'',	0),
(1353,	NULL,	3,	'2018-09-01 15:36:48',	'2018-09-01 15:36:48',	'And STILL she forgets the fucking Vegemite!',	'<p>Ne pas vivre du tourisme rend aimable.</p>\n',	'Detour 25',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/exhibitions-2014-now/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-25',	'detour-25',	NULL,	'',	'',	'2021-08-26 19:53:49',	NULL,	'2021-08-26 19:53:49',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1353',	0,	'detour',	'',	0),
(1354,	NULL,	3,	'2018-09-01 15:39:09',	'2018-09-01 15:39:09',	'Door code is 1439.\r\n\r\nThere’s lemon cake. Don’t make me wait!',	'<p>Nous accusons réception de votre demande</p>\n<p>et la transférons au service concerné.</p>\n',	'Detour 26',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/from-a-to-h/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-26',	'detour-26',	NULL,	'',	'',	'2021-04-26 09:48:57',	NULL,	'2021-04-26 09:48:57',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1354',	0,	'detour',	'',	0),
(1355,	NULL,	3,	'2018-09-01 15:40:20',	'2018-09-01 15:40:20',	'I have quite of an urgent situation.\r\n\r\nCan we postpone? Thank you for the reply.',	'<p>J’ai été poursuivie par deux chiens enragés au port.</p>\n<p>Plutôt flippant.</p>\n',	'Detour 27',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'all-exhibitions/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-27',	'detour-27',	NULL,	'',	'',	'2020-11-19 19:15:30',	NULL,	'2020-11-19 19:15:30',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1355',	0,	'detour',	'',	0),
(1358,	NULL,	3,	'2018-09-01 15:41:24',	'2018-09-01 15:41:24',	'<p>I thought you weren&rsquo;t drinking??? Bring whatever. Come whenever. All good.</p>',	'<p>La propri&eacute;taire a montr&eacute; sa cuisine.</p><p>Elle y faisait bouillir des t&ecirc;tes de poisson pour son chat.</p>',	'Detour 28',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/exhibitions-2015-now/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-28',	'detour-28',	NULL,	'',	'',	'2018-10-27 18:52:53',	NULL,	'2018-10-27 18:52:53',	'2023-12-30 21:16:45',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1358',	0,	'detour',	'',	0),
(1414,	NULL,	3,	'2018-09-02 20:51:37',	'2018-09-02 20:51:37',	'The Daily Telegraph ran the front-page story with the headline,\r\n\r\n“Belinda’s Red Card Rampage.”',	'<p>Les icônes étaient sur les chevalets et il n\'y a rien à faire,</p>\n<p>ça fait expo de peintres de dimanche.</p>\n',	'Detour 29',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/museums-of-the-world/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-29',	'detour-29',	NULL,	'',	'',	'2018-10-27 18:51:39',	NULL,	'2018-10-27 18:51:39',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1414',	0,	'detour',	'',	0),
(1419,	NULL,	3,	'2018-09-02 20:53:00',	'2018-09-02 20:53:00',	'<p>I totally love that painting. It used to be my screen saver.</p>',	'<p>Il y a des panneaux dans les champs pour indiquer les mines.</p><p>Le d&eacute;minage est lent et couteux. La r&eacute;gion est pauvre.</p>',	'Detour 30',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/museums-of-the-world-london-united-kingdom/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-30',	'detour-30',	NULL,	'',	'',	'2018-10-27 18:50:58',	NULL,	'2018-10-27 18:50:58',	'2023-12-30 21:19:14',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1419',	0,	'detour',	'',	0),
(1420,	NULL,	3,	'2018-09-02 20:54:26',	'2018-09-02 20:54:26',	'<p>Suddenly remembered you mentioned a haircut. Should I be concerned?</p>',	'<p>La saison touristique n&#39;est pas termin&eacute;e.</p><p>Beaucoup de vieux et d&#39;&eacute;trangers. Des voitures partout.</p>',	'Detour 31',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/museums-of-the-world-warsaw/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-31',	'detour-31',	NULL,	'',	'',	'2018-09-08 07:39:14',	NULL,	'2018-09-08 07:39:14',	'2023-12-30 21:20:10',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1420',	0,	'detour',	'',	0),
(1421,	NULL,	3,	'2018-09-02 20:55:41',	'2018-09-02 20:55:41',	'<p>They used to buy liquorice, chew it into a disgusting brown paste and grin at each other. It was a game known as Pooh Tooth.</p>',	'<p>Oui, oui,<em>&nbsp;sassi</em> et non pas <em>stasi</em>. C&rsquo;est le v&eacute;rificateur d&rsquo;orthographe</p><p>qui conna&icirc;t mieux les d&eacute;rives communistes que les grottes.</p>',	'Detour 32',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/museums-of-the-world-sofia/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-32',	'detour-32',	NULL,	'',	'',	'2018-09-06 14:14:05',	NULL,	'2018-09-06 14:14:05',	'2023-12-30 21:22:22',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1421',	0,	'detour',	'',	0),
(1423,	NULL,	3,	'2018-09-02 20:57:21',	'2018-09-02 20:57:21',	'Out of the blue, he would get streams of promotional material\r\n\r\non paving stones or window frames.',	'<p>Nous vous remercions d’avoir choisi la télédéclaration.</p>\n',	'Detour 33',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/exhibitions-2004-2009/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-33',	'detour-33',	NULL,	'',	'',	'2020-11-19 19:14:59',	NULL,	'2020-11-19 19:14:59',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1423',	0,	'detour',	'',	0),
(1425,	NULL,	3,	'2018-09-02 20:58:37',	'2018-09-02 20:58:37',	'Mel Gibson shot his crucifixion scene here.',	'<p>Dans le cadre de l\'audit électrique des ateliers,</p>\n<p>nous avons absolument besoin de vérifier vos installations.</p>\n',	'Detour 34',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/paintings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-34',	'detour-34',	NULL,	'',	'',	'2018-09-08 07:43:05',	NULL,	'2018-09-08 07:43:05',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1425',	0,	'detour',	'',	0),
(1427,	NULL,	3,	'2018-09-02 20:59:54',	'2018-09-02 20:59:54',	'People were tucking into what looked like bowls of sick.',	'<p>Tu ne devinerais jamais qui m’a écrit un long message</p>\n<p>sur ses peines de qualification et son téléphone en panne.</p>\n',	'Detour 35',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/archives-and-red-herrings-2014/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-35',	'detour-35',	NULL,	'',	'',	'2018-09-06 14:12:29',	NULL,	'2018-09-06 14:12:29',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1427',	0,	'detour',	'',	0),
(1429,	NULL,	3,	'2018-09-02 21:01:06',	'2018-09-02 21:01:06',	'The witness described the man as someone who abused his dog\r\n\r\nand was often seen down in the mangroves muttering to himself.',	'<p>Finalement, je ne te confie pas la relecture du premier chapitre.</p>\n<p>ESTIME-TOI HEUREUSE !</p>\n',	'Detour 36',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/ephemeral/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-36',	'detour-36',	NULL,	'',	'',	'2018-10-27 18:46:56',	NULL,	'2018-10-27 18:46:56',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1429',	0,	'detour',	'',	0),
(1431,	NULL,	3,	'2018-09-02 21:03:31',	'2018-09-02 21:03:31',	'She turned to see three of the guests at the halfway house next-door\r\n\r\nsmoking crack pipes on the balcony.',	'<p>Il résulte de cette vérification que seuls les conduits</p>\n<p>des appartements au 4<sup>ème</sup> étage doivent faire l’objet de tubage.</p>\n',	'Detour 37',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/public-housing-2007/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-37',	'detour-37',	NULL,	'',	'',	'2020-11-19 19:14:14',	NULL,	'2020-11-19 19:14:14',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1431',	0,	'detour',	'',	0),
(1434,	NULL,	3,	'2018-09-02 21:05:30',	'2018-09-02 21:05:30',	'Madame B said in homage that Madame F had retained control of her bladder to the end.',	'<p>C\'est totalement incontournable de nos jours.</p>\n',	'Detour 38',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/public-art/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-38',	'detour-38',	NULL,	'',	'',	'2018-10-27 18:44:59',	NULL,	'2018-10-27 18:44:59',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1434',	0,	'detour',	'',	0),
(1436,	NULL,	3,	'2018-09-02 21:06:59',	'2018-09-02 21:06:59',	'When she was evicted,\r\n\r\nshe smashed everything, including the toilet bowl.',	'<p>Dès notre retour le 28 août,</p>\n<p>nous prendrons connaissance de vos mails.</p>\n',	'Detour 39',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/museums-of-the-world-2013/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-39',	'detour-39',	NULL,	'',	'',	'2018-10-27 18:44:00',	NULL,	'2018-10-27 18:44:00',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1436',	0,	'detour',	'',	0),
(1439,	NULL,	3,	'2018-09-02 21:08:06',	'2018-09-02 21:08:06',	'<p>The waiter interrupted to say, &ldquo;I don&rsquo;t give a fuck if she doesn&rsquo;t eat at all.&rdquo;</p>',	'<p>Ce n&rsquo;est pas tant que je fais du z&egrave;le :</p><p>je fais faire du z&egrave;le &agrave; mon entourage.</p>',	'Detour 40',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/from-s-to-z/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-40',	'detour-40',	NULL,	'',	'',	'2020-11-19 19:13:38',	NULL,	'2020-11-19 19:13:38',	'2023-12-30 21:28:20',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1439',	0,	'detour',	'',	0),
(1440,	NULL,	3,	'2018-09-03 10:13:54',	'2018-09-03 10:13:54',	'Please see the English version below.',	'<p>… mais je peux déjà vous dire</p>\n<p>qu’il est hors de question que vous écriviez 200 pages.</p>\n',	'Detour 41',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/exhibitions-2010-2013/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-41',	'detour-41',	NULL,	'',	'',	'2020-11-19 19:11:55',	NULL,	'2020-11-19 19:11:55',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1440',	0,	'detour',	'',	0),
(1453,	NULL,	3,	'2018-09-03 10:15:00',	'2018-09-03 10:15:00',	'Good cheer is a tall order under current circumstances.',	'<p>Suis sur le quai 3…</p>\n<p>Tu es arrivée ?</p>\n',	'Detour 42',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/news-of-the-world-2016/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-42',	'detour-42',	NULL,	'',	'',	'2020-11-19 19:12:36',	NULL,	'2020-11-19 19:12:36',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1453',	0,	'detour',	'',	0),
(1454,	NULL,	3,	'2018-09-03 10:16:13',	'2018-09-03 10:16:13',	'I would be happy to never return there ever.\r\n\r\nEven if the sun comes out one day.',	'<p>La police était débordée de meurtres et d’overdoses.</p>\n<p>Un message disait d’appeler le 17 en cas d’urgence.</p>\n',	'Detour 43',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/industrial-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-43',	'detour-43',	NULL,	'',	'',	'2018-11-08 18:20:52',	NULL,	'2018-11-08 18:20:52',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1454',	0,	'detour',	'',	0),
(1455,	NULL,	3,	'2018-09-03 10:17:18',	'2018-09-03 10:17:18',	'<p>There are many young women dressed like car rental secretaries in navy A-line skirts, white shirts and blue ties. Girl guides?</p>',	'<p>Je file cuisiner mes salades.</p>',	'Detour 44',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/industrial-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-44',	'detour-44',	NULL,	'',	'',	'2018-11-27 12:46:35',	NULL,	'2018-11-27 12:46:35',	'2024-01-01 21:36:07',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1455',	0,	'detour',	'',	0),
(1456,	NULL,	3,	'2018-09-03 10:18:49',	'2018-09-03 10:18:49',	'Hundreds of people watched Madame B perched at the open window\r\n\r\nconsidering her options. The fire brigade rushed to the scene.\r\n\r\nShe was taken away never to return.',	'<p>\"Il faut qu’on parte. Il y a des autrichiens\".</p>\n',	'Detour 45',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/cranes/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-45',	'detour-45',	NULL,	'',	'',	'2018-10-27 18:37:31',	NULL,	'2018-10-27 18:37:31',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1456',	0,	'detour',	'',	0),
(1457,	NULL,	3,	'2018-09-03 10:19:45',	'2018-09-03 10:19:45',	'<p>The maid claimed the body had lain on the bed for four days until the burial because the family was too cheap to pay for refrigeration.</p>',	'<p>Oui, Philippe a assur&eacute;.</p>',	'Detour 46',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/production-site/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-46',	'detour-46',	NULL,	'',	'',	'2018-10-27 18:36:49',	NULL,	'2018-10-27 18:36:49',	'2024-01-01 21:38:06',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1457',	0,	'detour',	'',	0),
(1458,	NULL,	3,	'2018-09-03 10:21:10',	'2018-09-03 10:21:10',	'<p>&quot;I told them you were in the Impressionists not the Old Masters show, but they didn&#39;t seem to know who you were&quot;.</p>',	'<p>Je dois chercher un kilo de parmesan &agrave; 18h30 mais je peux passer apr&egrave;s.</p><p>C&rsquo;est trop tard&nbsp;?</p>',	'Detour 47',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/setting-for-an-everyday-life/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-47',	'detour-47',	NULL,	'',	'',	'2018-10-27 18:36:14',	NULL,	'2018-10-27 18:36:14',	'2024-01-01 21:38:58',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1458',	0,	'detour',	'',	0),
(1459,	NULL,	3,	'2018-09-03 10:22:28',	'2018-09-03 10:22:28',	'She’s rooted, mate.',	'<p>Je te connais pas c est Manon stefann t sur</p>\n<p>de me connaître moi je pense que tu t tromper de num</p>\n',	'Detour 48',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/paintings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-48',	'detour-48',	NULL,	'',	'',	'2021-04-26 11:47:28',	NULL,	'2021-04-26 11:47:28',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1459',	0,	'detour',	'',	0),
(1460,	NULL,	3,	'2018-09-03 10:23:36',	'2018-09-03 10:23:36',	'<p>My computer is diseased. Can you come tomorrow instead? And bring your stethoscope?</p>',	'<p>Viens avec ton cl&eacute;bard. Pas de soucis.</p><p>Je n&rsquo;oublie pas tes particularit&eacute;s alimentaires.</p>',	'Detour 49',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/authentic-new-mexico-2007/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-49',	'detour-49',	NULL,	'',	'',	'2018-10-27 18:34:55',	NULL,	'2018-10-27 18:34:55',	'2024-01-01 21:39:24',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1460',	0,	'detour',	'',	0),
(1461,	NULL,	3,	'2018-09-03 10:24:38',	'2018-09-03 10:24:38',	'<p>If you said yes, I&rsquo;m afraid I have to cancel.</p>',	'<p>Un mail du secr&eacute;tariat suivra.</p>',	'Detour 50',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/paris-2006/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-50',	'detour-50',	NULL,	'',	'',	'2018-09-07 17:42:35',	NULL,	'2018-09-07 17:42:35',	'2024-01-01 21:39:53',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1461',	0,	'detour',	'',	0),
(1462,	NULL,	3,	'2018-09-03 10:25:40',	'2018-09-03 10:25:40',	'<p>Why would they go to Eurodisney when I could show them human foetuses in jars?</p>',	'<p>&quot;C&rsquo;&eacute;tait super ce week-end. &Ccedil;a ne m&rsquo;a pas pes&eacute; du tout.&quot;</p>',	'Detour 51',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/editions/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-51',	'detour-51',	NULL,	'',	'',	'2018-09-07 17:28:06',	NULL,	'2018-09-07 17:28:06',	'2024-01-01 21:40:38',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1462',	0,	'detour',	'',	0),
(1463,	NULL,	3,	'2018-09-03 10:27:21',	'2018-09-03 10:27:21',	'I think we’re losing the plot here.\r\n\r\nWhat are your thoughts?',	'<p>La fresque de Marmara au coucher du soleil a disparu,</p>\n<p>remplacée par un mur de fausses briques.</p>\n',	'Detour 52',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/my-school-only-better-2007/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-52',	'detour-52',	NULL,	'',	'',	'2021-04-26 11:42:39',	NULL,	'2021-04-26 11:42:39',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1463',	0,	'detour',	'',	0),
(1464,	NULL,	3,	'2018-09-03 10:28:37',	'2018-09-03 10:28:37',	'The sassi inhabitants were banished to the suburbs\r\n\r\nfor sleeping with their livestock and their children.',	'<p>La mairie, ayant montré sa bonne volonté,</p>\n<p>restait sourde à toute plainte supplémentaire.</p>\n',	'Detour 53',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/coming-soon-2006/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-53',	'detour-53',	NULL,	'',	'',	'2018-10-27 18:28:13',	NULL,	'2018-10-27 18:28:13',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1464',	0,	'detour',	'',	0),
(1465,	NULL,	3,	'2018-09-03 10:30:51',	'2018-09-03 10:30:51',	'I remember Anthony on Toffee’s back with his feet dragging along the ground.\r\n\r\nOr am I making it up?',	'<p>J’irais bien fêter ça mis il y a un forcené quelques maisons plus loin,</p>\n<p>avec deux otages, un bidon d’essence et l’envie de parler à l’ambassadeur d’Iran.</p>\n',	'Detour 54',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/flower-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-54',	'detour-54',	NULL,	'',	'',	'2018-10-27 18:25:12',	NULL,	'2018-10-27 18:25:12',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1465',	0,	'detour',	'',	0),
(1471,	NULL,	3,	'2018-09-03 10:32:24',	'2018-09-03 10:32:24',	'<p>Wish you were here to ask the waiters what&rsquo;s in their spritz.</p>',	'<p>Ce qui devait &ecirc;tre une m&eacute;taphore du pouvoir d&eacute;gag&eacute; quand on agit de concert</p><p>s&rsquo;est transform&eacute; en le&ccedil;on sur la n&eacute;cessit&eacute; d&rsquo;organisation.</p>',	'Detour 55',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/museums-of-the-world-drawings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-55',	'detour-55',	NULL,	'',	'',	'2018-09-07 17:45:38',	NULL,	'2018-09-07 17:45:38',	'2024-01-01 21:41:06',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1471',	0,	'detour',	'',	0),
(1472,	NULL,	3,	'2018-09-03 10:33:31',	'2018-09-03 10:33:31',	'<p>She is very powerful in the pool and overtakes all her feeble, stunted competititors.</p>',	'<p>&Agrave; d&eacute;faut, vous risquez de vous voir appliquer une amende.</p>',	'Detour 56',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/museums-of-the-world-2013/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-56',	'detour-56',	NULL,	'',	'',	'2018-10-27 18:13:59',	NULL,	'2018-10-27 18:13:59',	'2024-01-01 21:41:33',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1472',	0,	'detour',	'',	0),
(1473,	NULL,	3,	'2018-09-03 10:35:33',	'2018-09-03 10:35:33',	'<p>Our records for your domain are as follows:</p>',	'<p>Pour votre s&eacute;curit&eacute;, nous vous recommandons de ne jamais r&eacute;pondre</p><p>&agrave; un courriel vous demandant votre num&eacute;ro de carte bancaire.</p>',	'Detour 57',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/production-site/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-57',	'detour-57',	NULL,	'',	'',	'2018-09-07 17:47:49',	NULL,	'2018-09-07 17:47:49',	'2024-01-01 21:41:57',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1473',	0,	'detour',	'',	0),
(1474,	NULL,	3,	'2018-09-03 10:38:14',	'2018-09-03 10:38:14',	'He rushed home to get acquainted with his appliance.',	'<p>Il criait aux ménagères qui passaient : « Mangez ma banane ! ».</p>\n',	'Detour 58',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/souvenirs/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-58',	'detour-58',	NULL,	'',	'',	'2019-12-29 20:48:10',	NULL,	'2019-12-29 20:48:10',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1474',	0,	'detour',	'',	0),
(1484,	NULL,	3,	'2018-09-03 10:39:13',	'2018-09-03 10:39:13',	'He bought his long red socks from the Pope’s own supplier.',	'<p>Répondez à ce court questionnaire de 30 secondes sur Air France</p>\n<p>pour pouvoir sélectionner l’une de nos récompenses.</p>\n',	'Detour 59',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/news-of-the-world-2016/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-59',	'detour-59',	NULL,	'',	'',	'2019-12-29 20:46:28',	NULL,	'2019-12-29 20:46:28',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1484',	0,	'detour',	'',	0),
(1485,	NULL,	3,	'2018-09-03 10:40:46',	'2018-09-03 10:40:46',	'<p>She is much more coherent than I expected, not that I&rsquo;d wish dementia on her before her time.</p>',	'<p>&nbsp;</p><p>L&#39;exp&eacute;rience et le plaisir de rendre heureux ceux qui frappent &agrave; ma porte</p><p>est la cl&eacute; de mon succ&egrave;s, depuis plus de 40 ans.</p>',	'Detour 60',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/serving-suggestions-2001/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-60',	'detour-60',	NULL,	'',	'',	'2018-10-29 11:58:17',	NULL,	'2018-10-29 11:58:17',	'2024-01-01 21:42:36',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1485',	0,	'detour',	'',	0),
(1486,	NULL,	3,	'2018-09-03 10:42:23',	'2018-09-03 10:42:23',	'<p>Then he sent me home with some blood oranges because he says he won&rsquo;t eat them ever.</p>',	'<p>Verdict&nbsp;: &laquo;&nbsp;Ouais, comestible, sans plus&nbsp;&raquo;.</p>',	'Detour 61',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/cristal-union-2002/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-61',	'detour-61',	NULL,	'',	'',	'2018-09-03 12:00:03',	NULL,	'2018-09-03 12:00:03',	'2024-01-01 21:43:00',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1486',	0,	'detour',	'',	0),
(1487,	NULL,	3,	'2018-09-03 10:43:37',	'2018-09-03 10:43:37',	'<p>They have expressed a preference for grey. Sadly, they have a contractual obligation to take what they&rsquo;re given.</p>',	'<p>Pour la tranquillit&eacute; et le respect de notre voisinage,</p><p>merci de ne pas parler trop fort en terrasse et sur le trottoir.</p>',	'Detour 62',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/iufm-2002-2005/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-62',	'detour-62',	NULL,	'',	'',	'2018-12-30 11:27:32',	NULL,	'2018-12-30 11:27:32',	'2024-01-01 21:43:26',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1487',	0,	'detour',	'',	0),
(1488,	NULL,	3,	'2018-09-03 10:46:07',	'2018-09-03 10:46:07',	'<p>Are you making these up? Or are they Facebookeries?</p>',	'<p>Oui, c&#39;est tr&egrave;s &agrave; la mode, des th&eacute;or&egrave;mes.</p>',	'Detour 63',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/photos/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-63',	'detour-63',	NULL,	'',	'',	'2018-10-27 18:09:50',	NULL,	'2018-10-27 18:09:50',	'2024-01-01 21:44:09',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1488',	0,	'detour',	'',	0),
(1489,	NULL,	3,	'2018-09-03 10:47:26',	'2018-09-03 10:47:26',	'I encountered a red dog, which sniffed me and kept going.',	'<p>C’est vrai, quoi. Je manque cruellement de corpus.</p>\n',	'Detour 64',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/los-angeles-2004-2005/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-64',	'detour-64',	NULL,	'',	'',	'2021-04-26 14:24:01',	NULL,	'2021-04-26 14:24:01',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1489',	0,	'detour',	'',	0),
(1490,	NULL,	3,	'2018-09-03 10:49:45',	'2018-09-03 10:49:45',	'<p>A chubby boy in a shabby gold braid red velvet vest gets my prize for best dress-ups.</p>',	'<p>Il y a du brouilly en vin naturel :</p><p>deux cauchemars r&eacute;unis.</p>',	'Detour 65',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/coming-soon-2006/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-65',	'detour-65',	NULL,	'',	'',	'2021-04-26 12:04:11',	NULL,	'2021-04-26 12:04:11',	'2024-01-01 21:44:36',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1490',	0,	'detour',	'',	0),
(1491,	NULL,	3,	'2018-09-03 11:32:35',	'2018-09-03 11:32:35',	'The phone I used as an alarm was on its own time zone\r\n\r\nso I woke up an hour late and realized the shuttle bus hadn’t come.',	'<p>Veuillez trouver ci-joint votre facture du mois de septembre.</p>\n<p>Bien cordialement</p>\n',	'Detour 66',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/museums-of-the-world-2013/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-66',	'detour-66',	NULL,	'',	'',	'2019-12-29 20:47:25',	NULL,	'2019-12-29 20:47:25',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1491',	0,	'detour',	'',	0),
(1492,	NULL,	3,	'2018-09-03 11:34:48',	'2018-09-03 11:34:48',	'I was disconcerted at first but am warming to its shabby Soviet charms.',	'<p>De plus, j\'ai reçu ce matin un coup de téléphone du réparateur de notre lave-vaisselle.</p>\n<p>Il va passer demain dans l\'après-midi.</p>\n',	'Detour 67',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/tree-drawings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-67',	'detour-67',	NULL,	'',	'',	'2019-12-29 20:45:34',	NULL,	'2019-12-29 20:45:34',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1492',	0,	'detour',	'',	0),
(1503,	NULL,	3,	'2018-09-03 11:36:00',	'2018-09-03 11:36:00',	'<p>I doubt Le Pen will win but who predicted Trump or Brexit? We live in dodgy times.</p>',	'<p>Aucune magie pendant la nuit !</p>',	'Detour 68',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/anthropology-mqb/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-68',	'detour-68',	NULL,	'',	'',	'2019-12-29 19:13:19',	NULL,	'2019-12-29 19:13:19',	'2024-01-01 21:44:54',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1503',	0,	'detour',	'',	0),
(1504,	NULL,	3,	'2018-09-03 11:37:25',	'2018-09-03 11:37:25',	'<p>There are kooky Tito-era architectural experiments to entertain me and good ice cream.</p>',	'<p>Eh oui, comme Balzac, je travaille de m&eacute;moire.</p><p>&nbsp;</p><p>Envoy&eacute; de mon iPhone</p>',	'Detour 69',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/industrial-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-69',	'detour-69',	NULL,	'',	'',	'2018-10-27 18:05:50',	NULL,	'2018-10-27 18:05:50',	'2024-01-01 21:45:45',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1504',	0,	'detour',	'',	0),
(1505,	NULL,	3,	'2018-09-03 11:38:35',	'2018-09-03 11:38:35',	'The searing heat killed my iPad,\r\n\r\nwhich has not warmed me to this sweaty town.',	'<p>Pas d’observation sur les documents joints qui devront être accompagnés</p>\n<p>de l’attestation concernant l’emploi de travailleurs handicapés.</p>\n',	'Detour 70',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/museums-of-the-world-montreal/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-70',	'detour-70',	NULL,	'',	'',	'2021-04-26 10:51:39',	NULL,	'2021-04-26 10:51:39',	NULL,	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1505',	0,	'detour',	'',	0),
(1506,	NULL,	3,	'2018-09-03 11:39:45',	'2018-09-03 11:39:45',	'<p>It was followed by a high-speed death ride to the airport with no seatbelt.</p>',	'<p>Tu savais que l&rsquo;Inde a d&eacute;criminalis&eacute; l&rsquo;homosexualit&eacute; aujourd&rsquo;hui ?</p>',	'Detour 71',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/my-school-only-better-2007/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-71',	'detour-71',	NULL,	'',	'',	'2018-09-07 17:22:32',	NULL,	'2018-09-07 17:22:32',	'2024-01-01 21:46:13',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1506',	0,	'detour',	'',	0),
(1507,	NULL,	3,	'2018-09-03 11:40:48',	'2018-09-03 11:40:48',	'<p>That Gore bloke should be strung up. it was a smoke Screen. A plan to trick us. Nothing to do with humans. It&rsquo;s far bigger than manmade.</p>',	'<p>Conditions pour proposer un projet</p><p>- &ecirc;tre Fran&ccedil;ais ou r&eacute;sider en France depuis plus d&rsquo;un an</p><p>- &ecirc;tre &acirc;g&eacute; entre 18 &agrave; 35 ans</p>',	'Detour 72',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/authentic-new-mexico-2007/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-72',	'detour-72',	NULL,	'',	'',	'2018-10-27 18:04:17',	NULL,	'2018-10-27 18:04:17',	'2024-01-01 21:46:34',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1507',	0,	'detour',	'',	0),
(1508,	NULL,	3,	'2018-09-03 11:41:44',	'2018-09-03 11:41:44',	'<p>Then I dropped my passport and kept walking. It would seem my unconscious is over constant travel.</p>',	'<p>La r&eacute;sidence est d&eacute;crite comme un processus d&rsquo;immersion</p><p>dans un environnement &laquo; autre &raquo; dans une perspective d&rsquo;&eacute;changes,</p><p>de partage et de mise en pratique d&rsquo;une exp&eacute;rience artistique.</p>',	'Detour 73',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/meymac-2009/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-73',	'detour-73',	NULL,	'',	'',	'2018-09-06 13:58:49',	NULL,	'2018-09-06 13:58:49',	'2024-01-01 21:47:08',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1508',	0,	'detour',	'',	0),
(1509,	NULL,	3,	'2018-09-03 11:42:56',	'2018-09-03 11:42:56',	'<p>It was followed by a high-speed death ride to the airport with no seatbelt.</p>',	'<p>C&#39;est la fin du mois. D&#39;un choux-fleur, on fait un repas.</p>',	'Detour 74',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/public-art/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-74',	'detour-74',	NULL,	'',	'',	'2018-10-27 18:03:23',	NULL,	'2018-10-27 18:03:23',	'2024-01-01 21:47:40',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1509',	0,	'detour',	'',	0),
(1510,	NULL,	3,	'2018-09-03 11:44:10',	'2018-09-03 11:44:10',	'<p>We can almost smell the sulphur. Get on board. Everything is being revealed, Read on your computer KJBible... Ephesians chapter 6. All of it.</p>',	'<p>elle fonctionne exactement comme la rubrique expositions.</p>',	'Detour 75',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/museums-of-the-world-caen/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-75',	'detour-75',	NULL,	'',	'',	'2020-11-19 19:22:18',	NULL,	'2020-11-19 19:22:18',	'2024-01-01 21:48:15',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=detour&#038;p=1510',	0,	'detour',	'',	0),
(1983,	NULL,	3,	'2018-10-29 10:27:52',	'2018-10-29 10:27:52',	'There is a plan to send immigrants to the regions\r\n\r\nto dilute the crystal meth epidemic.',	'<p>La vie des sociétés d’Océanie est ponctuée d’évènements cérémoniels,</p>\n<p>dont le rythme et les modalités varient selon les préoccupations de chaque communauté.</p>\n',	'Detour 76',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/industrial-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-76',	'detour-76',	NULL,	'',	'',	'2019-03-30 13:09:34',	NULL,	'2019-03-30 13:09:34',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=1983',	0,	'detour',	'',	0),
(2011,	NULL,	3,	'2018-11-16 11:34:55',	'2018-11-16 11:34:55',	'If only they could treat refugees the way they treat livestock...',	'<p>J\'attendais un signe du vieux pays.</p>\n<p>Ce n\'est pas venu.</p>\n',	'Detour 77',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/anthropology-mqb/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-77',	'detour-77',	NULL,	'',	'',	'2019-12-29 21:41:35',	NULL,	'2019-12-29 21:41:35',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=2011',	0,	'detour',	'',	0),
(2034,	NULL,	3,	'2018-12-12 09:18:45',	'2018-12-12 09:18:45',	'He talked endlessly about his ailments and so wasn’t invited again.',	'<p>Le fonctionnement des musées est donc analysé et incarné dans l’espace d’exposition.</p>\n',	'Detour 78',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/anthropology-mqb/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-78',	'detour-78',	NULL,	'',	'',	'2021-04-26 12:12:15',	NULL,	'2021-04-26 12:12:15',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=2034',	0,	'detour',	'',	0),
(2086,	NULL,	3,	'2018-12-30 11:21:10',	'2018-12-30 11:21:10',	'The neighbour who killed the turkey gave it a messy caesarean,\r\n\r\nleaving a gaping cavity that no amount of stuffing could fill.',	'<p>Elle a reçu l’avis de décès sur WhatsApp.</p>\n',	'detour 79',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/ungrid-2018/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-79',	'detour-79',	NULL,	'',	'',	'2020-11-19 19:11:10',	NULL,	'2020-11-19 19:11:10',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=2086',	0,	'detour',	'',	0),
(2088,	NULL,	3,	'2018-12-30 11:22:32',	'2018-12-30 11:22:32',	'After dinner, he sang pioneer songs from his childhood\r\n\r\ninto his Google translate app.',	'<p>Puis l’amie de longue date a prononcé cette phrase inoubliable :</p>\n<p>Je ne veux pas me tuer mais j’y pense.</p>\n',	'detour 80',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/anthropology/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-80',	'detour-80',	NULL,	'',	'',	'2021-04-26 11:33:42',	NULL,	'2021-04-26 11:33:42',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=2088',	0,	'detour',	'',	0),
(2091,	NULL,	3,	'2018-12-30 12:11:46',	'2018-12-30 12:11:46',	'Governer Schwarzenegger was busy bringing California back.',	'<p>Ils sont arrivés en retard.</p>\n<p>Le rituel satanique était déjà terminé.</p>\n',	'detour 81',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/los-angeles-2004-2005/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-81',	'detour-81',	NULL,	'',	'',	'2019-12-29 18:51:44',	NULL,	'2019-12-29 18:51:44',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=2091',	0,	'detour',	'',	0),
(2152,	NULL,	3,	'2019-01-20 16:47:30',	'2019-01-20 16:47:30',	'There was to be no surprise party.\r\n\r\nHe said, at our age, surprises can be fatal.',	'<p>Est-ce que c’est trop tard pour dîner avec vous vendredi ?</p>\n<p>Je me suis arrangée.</p>\n',	'detour 82',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/industrial-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-82',	'detour-82',	NULL,	'',	'',	'2021-04-26 10:37:52',	NULL,	'2021-04-26 10:37:52',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=2152',	0,	'detour',	'',	0),
(2252,	NULL,	3,	'2019-03-07 16:36:47',	'2019-03-07 16:36:47',	'Fairy Bell said, “Just pop it in the suggestion box, dear.”',	'<p>Quelques émotions :</p>\n<p>me tenir à une chaine au dessus d’une plongée raide en mer,</p>\n<p>la rencontre avec deux sangliers blasés...</p>\n',	'detour 83',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/industrial-collages/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-83',	'detour-83',	NULL,	'',	'',	'2019-12-29 18:54:00',	NULL,	'2019-12-29 18:54:00',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=2252',	0,	'detour',	'',	0),
(2254,	NULL,	3,	'2019-03-07 16:40:01',	'2019-03-07 16:40:01',	'Landing was aborted due to a flock of suicidal birds.',	'<p>La bière à trois euros le litre coulait à flot.</p>\n',	'detour 84',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/problematic-specimens/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-84',	'detour-84',	NULL,	'',	'',	'2019-12-29 21:43:34',	NULL,	'2019-12-29 21:43:34',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=2254',	0,	'detour',	'',	0),
(4173,	NULL,	3,	'2019-12-29 18:57:15',	'2019-12-29 18:57:15',	'I fear it’s going to be a no-frills festive season.',	'<p>Courrier de rejet</p>\n<p>Un message vous est envoyé concernant la consultation présentée ci-dessous :</p>\n',	'detour 85',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/curiosities/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-85',	'detour-85',	NULL,	'',	'',	'2020-07-15 07:58:25',	NULL,	'2020-07-15 07:58:25',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=4173',	0,	'detour',	'',	0),
(4175,	NULL,	3,	'2019-12-29 18:59:54',	'2019-12-29 18:59:54',	'\"Argh, you\'ll be alright. You\'re tougher than a boiled owl.\"',	'<p>C\'est le moment idéal pour faire le plein d\'accessoires incontournables :</p>\n',	'detour 86',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/curiosities/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-86',	'detour-86',	NULL,	'',	'',	'2019-12-29 21:44:31',	NULL,	'2019-12-29 21:44:31',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=4175',	0,	'detour',	'',	0),
(4177,	NULL,	3,	'2019-12-29 19:01:56',	'2019-12-29 19:01:56',	'Edo said you are writing a book and talking to nobody.',	'<p>Je vous demande d’évacuer le train pour cause… d’évacuation !</p>\n',	'detour 87',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/urban-renewal/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-87',	'detour-87',	NULL,	'',	'',	'2019-12-29 19:01:56',	NULL,	'2019-12-29 19:01:56',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=4177',	0,	'detour',	'',	0),
(4179,	NULL,	3,	'2019-12-29 19:04:45',	'2019-12-29 19:04:45',	'The dog slipped its lead and ate a pile of human feces.\r\n\r\nIt was time to leave Los Angeles.',	'<p>Super journée : ai manifesté</p>\n<p>contre les violences homophobes et mangé Thaï.</p>\n',	'detour 88',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/curiosities/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-88',	'detour-88',	NULL,	'',	'',	'2021-04-26 08:41:56',	NULL,	'2021-04-26 08:41:56',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=4179',	0,	'detour',	'',	0),
(4182,	NULL,	3,	'2019-12-29 20:04:50',	'2019-12-29 20:04:50',	'Siri replied, “Hmm, it sounds like you need to talk to someone,”\r\n\r\nand gave him the number of a domestic violence hotline.',	'<p>On a osé lui parler alors</p>\n<p>QU’IL ÉTAIT AU TÉLÉPHONE AVEC SA MÈRE !!!!</p>\n',	'detour 89',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/anthropology/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-89',	'detour-89',	NULL,	'',	'',	'2019-12-29 21:11:36',	NULL,	'2019-12-29 21:11:36',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=4182',	0,	'detour',	'',	0),
(4184,	NULL,	3,	'2019-12-29 20:07:13',	'2019-12-29 20:07:13',	'Avid afternoon\r\n\r\nRecently I vacation cool sites\r\n\r\nOnline energizing п»ї&lt;a href=',	'<p>J’ai cru un instant que la rue avait fait plier Macron.</p>\n',	'detour 90',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/dupuytren/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-90',	'detour-90',	NULL,	'',	'',	'2019-12-29 20:07:13',	NULL,	'2019-12-29 20:07:13',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=4184',	0,	'detour',	'',	0),
(4186,	NULL,	3,	'2019-12-29 20:09:17',	'2019-12-29 20:09:17',	'He wore a tee-shirt inscribed with the words,\r\n\r\n“I’m silently correcting your grammar.”',	'<p>Il paraît que Siri dit des cochonneries en japonais,</p>\n<p>ce qui lui est strictement interdit en langue anglaise.</p>\n',	'detour 91',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/narrenturm/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-91',	'detour-91',	NULL,	'',	'',	'2021-04-26 11:05:58',	NULL,	'2021-04-26 11:05:58',	NULL,	'',	0,	'http://www.heidiwood.net/?post_type=detour&#038;p=4186',	0,	'detour',	'',	0),
(6817,	NULL,	3,	'2020-08-04 12:18:33',	'2020-08-04 12:18:33',	'They caught him sucking a teabag.',	'<p>Toi, t’as déjà pissé trois fois. C’est bon.</p>\n',	'detour 92',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/meymac-2020/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-92',	'detour-92',	NULL,	'',	'',	'2020-08-04 17:56:20',	NULL,	'2020-08-04 17:56:20',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=6817',	0,	'detour',	'',	0),
(6819,	NULL,	3,	'2020-08-04 12:20:32',	'2020-08-04 12:20:32',	'If all the mental people could just get their shit together…',	'<p>Pense à surveiller la fréquence de tes messages soulants.</p>\n',	'detour 93',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'exhibition-categories/meymac-2020/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-93',	'detour-93',	NULL,	'',	'',	'2020-08-04 17:55:59',	NULL,	'2020-08-04 17:55:59',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=6819',	0,	'detour',	'',	0),
(6824,	NULL,	3,	'2020-08-04 17:45:00',	'2020-08-04 17:45:00',	'He claimed there was only one prostitute in the building\r\n\r\nand she devoted a lot of time to the body corporate.',	'<p>Abandon de l’alcool et du tabac, Fécondité, Entente familiale,</p>\n<p>Permis de conduire, Timidité, Protection…</p>\n',	'detour 94',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/alentour/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-94',	'detour-94',	NULL,	'',	'',	'2020-08-04 17:53:56',	NULL,	'2020-08-04 17:53:56',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=6824',	0,	'detour',	'',	0),
(6826,	NULL,	3,	'2020-08-04 17:47:47',	'2020-08-04 17:47:47',	'If I can’t have pudding, I’ll eat the other guests.\r\n\r\nYou have been warned.',	'<p>… à titre provisionnel à valoir sur les dommages et intérêts</p>\n<p>qu’il entend solliciter devant le juge</p>\n',	'detour 95',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/anthropology/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-95',	'detour-95',	NULL,	'',	'',	'2020-08-04 17:53:38',	NULL,	'2020-08-04 17:53:38',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=6826',	0,	'detour',	'',	0),
(8002,	NULL,	3,	'2020-11-18 12:27:55',	'2020-11-18 12:27:55',	'He was in the grips of an unmanageable patriotic surge.',	'<p>Sur le parvis de Notre Dame,</p>\n<p>un grand émoi patrimonial a réconforté son vote RN.</p>\n',	'Detour 96',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/road-signs/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-96',	'detour-96',	NULL,	'',	'',	'2021-04-26 08:48:24',	NULL,	'2021-04-26 08:48:24',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=8002',	0,	'detour',	'',	0),
(8004,	NULL,	3,	'2020-11-18 12:49:47',	'2020-11-18 12:49:47',	'Half the white South Africans in the US are passing themselves off as Australians.\r\n\r\nI blame Nicole Kidman for this.',	'<p>Porter un masque lui posait problème</p>\n<p>intellectuellement, philosophiquement, éthiquement…</p>\n',	'detour 97',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'news/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-97',	'detour-97',	NULL,	'',	'',	'2020-11-19 19:10:13',	NULL,	'2020-11-19 19:10:13',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=8004',	0,	'detour',	'',	0),
(8006,	NULL,	3,	'2020-11-18 13:00:57',	'2020-11-18 13:00:57',	'______________ 3_____!_\r\n\r\n��C_%�S���cs5_���&amp;D�TdE£t6_�U\r\n\r\n&nbsp;',	'<p>… c\'eût été préférable.</p>\n',	'detour 98',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/paintings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-98',	'detour-98',	NULL,	'',	'',	'2020-11-19 19:09:56',	NULL,	'2020-11-19 19:09:56',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=8006',	0,	'detour',	'',	0),
(8008,	NULL,	3,	'2020-11-18 13:05:15',	'2020-11-18 13:05:15',	'For the first time ever, she voted for a candidate that won.\r\n\r\nIt made her feel old.',	'<p>Après la canicule, ce fut un bonheur intense de renouer avec les chaussettes.</p>\n',	'detour 99',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/autres/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-99',	'detour-99',	NULL,	'',	'',	'2020-11-19 19:09:37',	NULL,	'2020-11-19 19:09:37',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=8008',	0,	'detour',	'',	0),
(8013,	NULL,	3,	'2020-11-18 15:31:30',	'2020-11-18 15:31:30',	'Not ideal but definitely manageable…',	'<p>Rien qu’un peu d’hygiène ne saurait arranger.</p>\n',	'detour 100',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'all-exhibitions/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-100',	'detour-100',	NULL,	'',	'',	'2021-04-26 11:32:53',	NULL,	'2021-04-26 11:32:53',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=8013',	0,	'detour',	'',	0),
(8015,	NULL,	3,	'2020-11-18 15:40:02',	'2020-11-18 15:40:02',	'I’m from private industry and I’m here to help.',	'<p>Véronique, on fait un point là… parce qu’on a besoin de s’organiser.</p>\n',	'detour 101',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/public-art/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-101',	'detour-101',	NULL,	'',	'',	'2020-11-19 19:08:57',	NULL,	'2020-11-19 19:08:57',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=8015',	0,	'detour',	'',	0),
(8024,	NULL,	3,	'2020-11-19 11:27:30',	'2020-11-19 11:27:30',	'Then the gruesome young man\r\n\r\noffered her a suitcase of cash to reduce his tax bill.',	'<p>Le guide touristique était manifestement ivre.</p>\n',	'detour 102',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/alentour-unesco-world-heritage-2020/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-102',	'detour-102',	NULL,	'',	'',	'2020-11-19 19:08:38',	NULL,	'2020-11-19 19:08:38',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=8024',	0,	'detour',	'',	0),
(9215,	NULL,	3,	'2021-04-20 11:27:30',	'2021-04-20 11:27:30',	'She took gifts of hay for the camels, just in case.',	'<p>Elle a pris peur quand le néo-nazi</p>\n<p>à l’anglais impeccable a mis des gants blancs.</p>\n',	'detour 103',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/from-s-to-z/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-103',	'detour-103',	NULL,	'',	'',	'2021-04-26 08:33:37',	NULL,	'2021-04-26 08:33:37',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=9215',	0,	'detour',	'',	0),
(9264,	NULL,	3,	'2021-04-26 08:26:37',	'2021-04-26 08:26:37',	'They came to a crossroads and chose a wrong turn.',	'<p>Le lifting a échoué. Elle a décidé d’épouser la cause animale.</p>\n',	'detour 104',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'project-categories/museums-of-the-world-warsaw/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-104',	'detour-104',	NULL,	'',	'',	'2021-04-26 08:34:15',	NULL,	'2021-04-26 08:34:15',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=9264',	0,	'detour',	'',	0),
(9266,	NULL,	3,	'2021-04-26 08:28:06',	'2021-04-26 08:28:06',	'They woke up to herbal tea and the contents of last night’s doggy bag.',	'<p>Maintenant ? J’ai un Tupperware à te rendre.</p>\n',	'detour 105',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/drawings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-105',	'detour-105',	NULL,	'',	'',	'2021-04-26 08:43:26',	NULL,	'2021-04-26 08:43:26',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=9266',	0,	'detour',	'',	0),
(9268,	NULL,	3,	'2021-04-26 08:30:22',	'2021-04-26 08:30:22',	'Dank fishbowl water flowed onto all the soft furnishings.',	'<p>Elle attend que la technologie s’améliore avant de se lancer.</p>\n',	'detour 106',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/alentour/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-106',	'detour-106',	NULL,	'',	'',	'2021-04-26 08:32:35',	NULL,	'2021-04-26 08:32:35',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=9268',	0,	'detour',	'',	0),
(9495,	NULL,	3,	'2021-05-25 12:33:14',	'2021-05-25 12:33:14',	'The floor definitely wasn’t supposed to be that color.',	'<p>Traduit avec www.DeepL.com/Translator (version gratuite)</p>\n',	'detour 107',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/road-signs/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-107',	'detour-107',	NULL,	'',	'',	'2021-05-25 12:33:14',	NULL,	'2021-05-25 12:33:14',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=9495',	0,	'detour',	'',	0),
(10571,	NULL,	3,	'2021-08-26 19:37:51',	'2021-08-26 19:37:51',	'Then a stranger hopped in the back seat.\r\n\r\nIt could have all gone terribly wrong.',	'<p>Ses prétentions salariales</p>\n<p>étaient particulièrement prétentieuses.</p>\n',	'detour 108',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'publicart-categories/flood-abacus-2021/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-108',	'detour-108',	NULL,	'',	'',	'2021-08-26 19:42:44',	NULL,	'2021-08-26 19:42:44',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=10571',	0,	'detour',	'',	0),
(16729,	NULL,	3,	'2022-07-26 10:05:37',	'2022-07-26 10:05:37',	'She could see no good reason for it whatsoever.',	'<p>Les explosions en sous-sol se poursuivaient inlassablement.</p>\n',	'detour 109',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/paintings/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-109',	'detour-109',	NULL,	'',	'',	'2022-07-26 17:34:50',	NULL,	'2022-07-26 17:34:50',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=16729',	0,	'detour',	'',	0),
(16731,	NULL,	3,	'2022-07-26 10:07:00',	'2022-07-26 10:07:00',	'That particular hue was nicknamed \"dog dick pink.\"',	'<p>La canicule en février annonçait rien de bon.</p>\n',	'detour 110',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'work-categories/road-signs/',	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-110',	'detour-110',	NULL,	'',	'',	'2022-07-26 17:33:55',	NULL,	'2022-07-26 17:33:55',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=16731',	0,	'detour',	'',	0),
(20657,	NULL,	3,	'2022-12-04 21:00:33',	'2022-12-04 21:00:33',	'Everyone present had at least one false tooth.',	'<p>Son pseudo était Pink babe.</p>\n',	'detour 111',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	0,	'',	'publish',	1,	'closed',	'closed',	'',	'detour-111',	'detour-111',	NULL,	'',	'',	'2022-12-04 21:02:06',	NULL,	'2022-12-04 21:02:06',	NULL,	'',	0,	'https://www.heidiwood.net/?post_type=detour&#038;p=20657',	0,	'detour',	'',	0),
(20665,	NULL,	0,	NULL,	NULL,	'',	'',	'Visuels integres',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	1,	NULL,	'publish',	1,	'open',	'open',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	'2024-01-08 21:31:36',	NULL,	'2024-01-10 22:16:50',	NULL,	0,	'',	0,	'post',	'',	0);

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(8,	'On exhibitions',	'Sur les expositions',	'2023-10-30 15:14:05',	'2023-10-30 15:14:05'),
(9,	'CV',	'CV',	'2023-10-30 15:50:10',	'2023-10-30 15:50:10');

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(1681,	NULL,	6,	NULL,	NULL,	NULL,	2,	'2018-10-04 11:04:20',	'2018-10-04 11:04:20',	'<p>In <em>Serving Suggestions</em>, the picture is reduced to simply one element of a whole. This &quot;reducing&quot; operation does not refer to the word&rsquo;s negative aspect but rather corresponds to its culinary slant. To thicken by evaporation. &nbsp; Painted in its own right, the picture is then integrated into a decor. An environment is built to receive it. It is then that the real staging begins. A situation constructed. &nbsp; Dissimilar elements put together: pictures, furniture, wallpaper, linoleum, carpet, plants, accessories... following a modular logic (combinations, repetitions, rearrangements...), produce &quot;images&quot;. &nbsp; At the exhibition <em>Quotidien aid&eacute; (LES LOCATAIRES),</em> (where these <em>Serving Suggestions</em> were first publicly shown), Heidi Wood &quot;occupied&quot; the reception area, thus associating different problematics: conceived for this particular site, her work offered a usable and used space as well as an image since the whole was constructed according to one viewpoint, playing with mass, form and colour. The multiple ramifications of this then budding project were already visible: attention to decor, function, image, advertising. &nbsp; These <em>Serving Suggestions</em> are half way between reconstructions/propositions for interiors and displays in furniture shops or sales catalogues. It is here that the question of art consumption arises. The displays in fact propose spaces to be desired, spaces one can identify with, that call out, intended to incite the consumer to buy. &nbsp; Although realistic or credible, the spaces conceived are genuinely fabricated. Artificial. The ones that interest me most are those that are slightly off-track. Those that warn us they are fakes through little differences. Those that evoke usability but where the furniture, a little too well arranged, poses. Those prey to optical distortions, where the perspective is pronounced. Those that suggest nonsensical pictures from some interior decoration magazine. Here the picture is too close to the wall, there it is too close to the table. In another, the wallpaper stops abruptly, covering only part of the wall. In one, the combination of modules defies all common sense. They are detrimental to the effectiveness one expects from a communication and advertising perspective. Like slight glitches in a show. &nbsp; These internal failings cannot be seen. They eat away at the transparency of the images. &nbsp; Produced as they are today, naturally there are exchanges between these and other contemporary images. I am thinking in particular &shy; and Heidi Wood totally defends this stance &shy; of fashion and interior decoration photographs. In short, of the come-back made these past years in our visual field by forms from the sixties and seventies. We are witnessing a brief alignment of a pictorial universe (the aesthetics developed by Heidi Wood for several years now) and a mass movement, social, ephemeral, a fad (all glitter, money, consumption). The pictorial research behind this encounter is part of a wider context than the simple History of painting. Or rather the experience is seen as enclosed by, connected with the world. &nbsp; Recourse to these aesthetics goes beyond present circumstances. They belong to a bygone era, a reminder of triumphant modernism, of optimistic consumption. Which, even at the time, reused and bastardised the avant-garde&rsquo;s formal research. &nbsp; Heidi Wood, in her own way, is questioning the historical dialogue between geometrical abstraction and decorative arts (a dialogue that, from Mondrian to Vasarely, has known many incarnations), but this time it is devoid of all utopian implications, of all projects for social revolution. Modernism&rsquo;s forms, today exhausted, are questioned from a domestic point of view. What can be done with this history? &nbsp; <strong>Frank Lamy</strong> August 2001 Translated from French by Gabrielle Lawrence</p>',	'<p>Dans les<em>&nbsp;Serving Suggestions</em>, le tableau est r&eacute;duit &agrave; &ecirc;tre qu&rsquo;un des &eacute;l&eacute;ments d&rsquo;un dispositif. Cette op&eacute;ration de &laquo;&nbsp;r&eacute;duction&nbsp;&raquo; ne suit pas la pente minorante du mot mais correspond plut&ocirc;t &agrave; son versant culinaire. Faire &eacute;paissir par &eacute;vaporation.</p><p>&nbsp;</p><p>Peint pour lui-m&ecirc;me, le tableau est ensuite int&eacute;gr&eacute; &agrave; un d&eacute;cor. Un environnement est construit qui lui servira de r&eacute;ceptacle. S&rsquo;op&egrave;re alors une v&eacute;ritable mise en sc&egrave;ne. Une construction de situation.</p><p>&nbsp;</p><p>Des &laquo;&nbsp;images&nbsp;&raquo; sont ainsi produites par assemblage d&rsquo;&eacute;l&eacute;ments disparates&nbsp;: tableaux, meubles, papier peint, linol&eacute;um, moquette, plantes, accessoires&hellip; selon une logique modulaire (combinaisons, reprises, chass&eacute;s-crois&eacute;s&hellip;).</p><p>&nbsp;</p><p>Pour <em>Quotidien aid&eacute; (LES LOCATAIRES)</em>, (premi&egrave;re occurrence publique de ces <em>Serving Suggestions</em>), Heidi Wood avait &laquo;&nbsp;investi&nbsp;&raquo; la borne d&rsquo;accueil de l&rsquo;exposition, conjuguant ainsi diff&eacute;rentes probl&eacute;matiques&nbsp;: con&ccedil;ues pour ce lieu particulier, cette intervention proposait un espace utilisable et utilis&eacute; ainsi qu&rsquo;une image puisque l&rsquo;ensemble &eacute;tait b&acirc;ti en fonction d&rsquo;un point de vue et de jeux de masses, de formes et de couleurs. On y d&eacute;celait d&eacute;j&agrave; les multiples ramifications de ce projet alors en germe&nbsp;: l&rsquo;attention port&eacute;e au d&eacute;cor, au fonctionnel, &agrave; l&rsquo;image, au publicitaire.</p><p>&nbsp;</p><p>Ces <em>Serving Suggestions</em> se d&eacute;veloppent &agrave; mi-chemin entre des reconstitutions/propositions d&rsquo;int&eacute;rieurs et des corners de magasins de meubles ou de catalogues de ventes. Par l&agrave;, la question de la consommation de l&rsquo;art affleure. Les corners proposent en effet des espaces d&eacute;sirables, des espace d&rsquo;identification et d&rsquo;appel suppos&eacute;s inciter le consommateur &agrave; l&rsquo;achat.</p><p>&nbsp;</p><p>Bien que r&eacute;alistes ou vraisemblables, les espaces con&ccedil;us sont v&eacute;ritablement fabriqu&eacute;s. Artificiels. Ceux qui m&rsquo;int&eacute;ressent tout particuli&egrave;rement sont ceux qui d&eacute;rapent. Qui signalent par petits d&eacute;calages leur qualit&eacute; de simulacres. Ceux qui &eacute;voquent l&rsquo;utilisabilit&eacute; mais o&ugrave; les meubles, trop bien rang&eacute;s, posent. Ceux qui sont en proie &agrave; des d&eacute;formations optiques, o&ugrave; la perspective est accentu&eacute;e. Ceux qui proposent, comme des vues aberrantes issues d&rsquo;un magazine de d&eacute;coration. Ici, le tableau est trop proche du mur, l&agrave;, de la table. Dans cet autre, le papier peint s&rsquo;arr&ecirc;te net, ne couvrant que partiellement le mur. Dans celui-l&agrave;, la combinaison des modules d&eacute;fie les lois du bon sens. Ils s&rsquo;op&egrave;rent comme une mise &agrave; mal de l&rsquo;efficacit&eacute; attendue dans une optique communicationnelle et publicitaire. Comme de l&eacute;gers accrocs au spectacle.</p><p>&nbsp;</p><p>Ces d&eacute;faillances internes ne sont pas imm&eacute;diatement rep&eacute;rables. Elles minent la transparence de ces images.</p><p>&nbsp;</p><p>Produites aujourd&rsquo;hui, ces images dialoguent forc&eacute;ment avec d&rsquo;autres qui leur sont contemporaines. Je pense particuli&egrave;rement, et cette position est totalement revendiqu&eacute;e par Heidi Wood, aux photographies de mode et de d&eacute;coration d&rsquo;int&eacute;rieur. Bref, &agrave; ce retour que les formes des ann&eacute;es 60/70 ont effectu&eacute; ces derni&egrave;res ann&eacute;es dans notre champ visuel. On assiste &agrave; l&rsquo;ad&eacute;quation momentan&eacute;e entre un univers pictural (l&rsquo;esth&eacute;tique d&eacute;velopp&eacute;e depuis plusieurs ann&eacute;es par Heidi Wood) et un mouvement de masse, social, &eacute;ph&eacute;m&egrave;re, une mode (qui donc participe de la logique du spectacle, de l&rsquo;argent, de la consommation, etc.) Cette rencontre inscrit ses recherches picturales dans un contexte plus large que la simple Histoire de la peinture. Ou plut&ocirc;t envisage la pratique comme enclose, connect&eacute;e avec le monde.</p><p>&nbsp;</p><p>Le recours &agrave; cette esth&eacute;tique d&eacute;passe l&rsquo;aspect conjoncturel. Elle est celle d&rsquo;un temps r&eacute;volu, un rappel du modernisme triomphant, de la consommation optimiste. Qui, d&eacute;j&agrave; &agrave; l&rsquo;&eacute;poque de son apparition, reprenait et ab&acirc;tardissait les recherches formelles des avant-gardes. Heidi Wood interroge &agrave; sa mani&egrave;re le dialogue historique entre l&rsquo;abstraction g&eacute;om&eacute;trique et les arts d&eacute;coratifs (dialogue qui, de Mondrian &agrave; Vasarely, a connu de nombreux avatars), mais celui-ci est d&eacute;sormais vide de toute implication utopique, de projet de r&eacute;volution sociale. Les formes aujourd&rsquo;hui &eacute;puis&eacute;es du modernisme sont interrog&eacute;es du point de vue domestique. Comment faire avec cette histoire&nbsp;?</p><p>&nbsp;</p><p><strong>Frank Lamy</strong></p><p>ao&ucirc;t 2001</p>',	'A POSSIBLE SIDE DISH',	'FRANK LAMY',	'A POSSIBLE SIDE DISH, 2001',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'lie-a-la-page-catalogue-article',	'lie-a-la-page-catalogue-article',	'',	'',	'2018-10-19 17:42:14',	NULL,	'2018-10-19 17:42:14',	'2023-10-29 16:57:28',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1681',	0,	'doc_article',	'doc_article',	'',	0),
(1682,	NULL,	6,	NULL,	NULL,	NULL,	2,	'2018-10-03 14:04:35',	'2018-10-03 14:04:35',	'<p>The English irregular verbs which serve as titles for Heidi Wood&rsquo;s triptychs are precious keys to a better understanding, in analogical terms, of the great complexity of what appear to be gently abstract and decorative paintings. &nbsp; Each addition to the &ldquo;Irregular Verbs&rdquo; series is made up of three paintings of the same size, often small or medium in scale, on which are placed forms applied as planes of color that vaguely call to mind historical abstractions. The strained, never easy relations between colors as well as the upholstery fabrics often used as a support contribute to the alteration of models and the undermining of references. Beware of appearances! &nbsp; These tame little paintings are also formidable deregulators of time and gesture. And the titles encourage this terrible mechanism. &nbsp; Much like the verb that accompanies it, the triptych neutralizes any narration and articulates in three parts the development of an action that is probable yet cut off, for the moment, from any necessity of result or relation to the real. &ldquo;Off by heart&rdquo;, as a technique applied to painting leads to a mechanization of memory. Like the two commas that separate the irregular tenses of these verbs of exception in writing, the oil painted surface and the all too visible texture of some fabrics impose a return to the present. &nbsp; Far from the naively syntactical solutions that allow many artists to paint today, Heidi Wood, by working so closely with language, allows herself the most simple of freedoms in painting. &nbsp; <strong>Nicolas Chardon</strong> December 1999</p>',	'<p>Les verbes irr&eacute;guliers anglais donn&eacute;s pour titre aux triptyques que peint Heidi Wood sont des indices pr&eacute;cieux pour comprendre mieux, sur le mode analogique, la grande complexit&eacute; des tableaux qu&rsquo;elle r&eacute;alise, aux apparences doucement abstraites et d&eacute;coratives.</p><p>Chaque volet de cette s&eacute;rie pr&eacute;cis&eacute;ment intitul&eacute;e &laquo;&nbsp;Irregular Verbs&nbsp;&raquo;, se compose de trois tableaux de formats identiques, souvent petits ou de taille moyenne, sur lesquels sont pos&eacute;es des formes trait&eacute;es en aplats, vaguement &eacute;vocatrice des abstractions historiques. Les rapports de couleur souvent sourds, jamais faciles, ainsi que les tissus d&rsquo;ameublement parfois utilis&eacute; comme support contribuent &agrave; l&rsquo;alt&eacute;ration des mod&egrave;les, au ramollissement des r&eacute;f&eacute;rences. Sommeil trompeur&nbsp;!</p><p>En effet, ces petites peintures de compagnie sont en r&eacute;alit&eacute; de redoutables machines &agrave; d&eacute;r&eacute;gler le temps et le geste. Et les titres encouragent ce terrible m&eacute;canisme.<br>A l&rsquo;image du verbe qui lui fait pendant, le triptyque retient ainsi toute narration et scande en trois parties le d&eacute;veloppement d&rsquo;une action probable mais coup&eacute;e dans l&rsquo;imm&eacute;diat de toute n&eacute;cessit&eacute; de r&eacute;sultat, du moindre rapport au r&eacute;el. Appliqu&eacute;e &agrave; la peinture, la technique du &laquo;&nbsp;par c&oelig;ur&nbsp;&raquo; impose une logique m&eacute;canique de la m&eacute;moire. Telles les deux virgules qui &agrave; l&rsquo;&eacute;crit s&eacute;parent les temps irr&eacute;guliers de ces verbes d&rsquo;exceptions, les qualit&eacute;s du traitement &agrave; l&rsquo;huile, la texture trop visible de certains tissus s&rsquo;efforcent alors de rappeler le pr&eacute;sent.</p><p>&nbsp;</p><p>Loin des solutions na&iuml;vement syntaxiques qui permettent &agrave; beaucoup de peindre aujourd&rsquo;hui, Heidi Wood, en jouant de mani&egrave;re si serr&eacute;e avec le langage, s&rsquo;offre les plus simples libert&eacute;s en peinture.</p><p>&nbsp;</p><p><strong>Nicolas Chardon</strong><br>d&eacute;cembre 1999</p>',	'IRREGULAR VERBS',	'NICOLAS CHARDON',	'IRREGULAR VERBS, 1999',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'lie-a-la-page-catalogue-article-2',	'lie-a-la-page-catalogue-article-2',	'',	'',	'2018-10-19 17:42:47',	NULL,	'2018-10-19 17:42:47',	'2023-10-30 16:02:54',	'',	0,	'http://s653906673.onlinehome.fr/doc_article/lie-a-la-page-catalogue-article-2/',	0,	'doc_article',	'doc_article',	'',	0),
(1683,	NULL,	9,	NULL,	NULL,	NULL,	2,	'2018-09-10 14:05:32',	'2018-09-10 14:05:32',	'<h2>HEIDI WOOD\r\nBorn 1967 in London. Lives in Paris.</h2><p>&nbsp;</p><h2>SOLO EXHIBITIONS</h2><p>&nbsp; <strong>2021</strong> La H&ugrave;s, ESADHaR, Rouen, <em><strong>Display Home</strong></em><strong>2015</strong> Le 116, Montreuil, <em><strong>Production Site</strong></em><strong>2013</strong> Mus&eacute;e national Fernand L&eacute;ger, Biot, <em><strong>Setting for an Ordinary Life</strong></em> Galerie Anne Barrault, Paris, <em><strong>Petite Couronne</strong></em> FRAC Poitou Charentes, Angoul&ecirc;me, <em><strong>Apparitions collectives</strong></em><strong>2012</strong> Les R&eacute;servoirs, Limay, <em><strong>Banlieues</strong></em><strong>2011</strong> Maison des arts plastiques Rosa Bonheur, Chevilly-Larue, <em><strong>Vacances d&rsquo;hiver</strong></em> Artoth&egrave;que de Caen, <em><strong>Mus&eacute;es du monde</strong></em> Graineterie, Houilles,<em><strong>&nbsp;Cosmic</strong></em><strong>2010</strong> Galerie Herold, Bremen, <em><strong>Open Season</strong></em> Galerie Municipale, Vitry-sur-Seine, <em><strong>Partie de chasse (Open Season)</strong></em><strong>2009</strong> CAC Meymac, Abbaye Saint-Andr&eacute;, <em><strong>Vous &ecirc;tes ici</strong></em> Image Imatge, Orthez, <em><strong>Mount Isa</strong></em> ESAC, Pau, <em><strong>Dans l&rsquo;univers de Beckmann-N&rsquo;Th&eacute;p&eacute;</strong></em><strong>2008</strong> Galerie Anne Barrault, Paris, <em><strong>Date limite de consommation</strong></em><strong>2007</strong> ESAD, Amiens, <em><strong>Visitors&rsquo; Center</strong></em> Galerie Frederic Desimpel, Brussels, <em><strong>Made to Order</strong></em><strong>2006</strong> Le Hall, Ecole Nationale des Beaux-Arts, Lyon, <em><strong>Le Mus&eacute;e</strong></em> 2005 Galerie Anne Barrault, Paris, <em><strong>Los Angeles</strong></em><strong>2003</strong> Galerie Anne Barrault, Paris, <em><strong>Plan&egrave;te Magique</strong></em> Galleria Plastica, Bologna <strong>2002</strong> Espace d&rsquo;art contemporain Camille Lambert, Juvisy-sur-Orge,<em><strong>&nbsp;La Maison de banlieue</strong></em> &nbsp; &nbsp;</p><h2>GROUP EXHIBITIONS (selection)</h2><p>&nbsp; <strong>2021</strong> FRAC Pays de la Loire, commissariat Claude Closky, <em><strong>X</strong></em><strong>2020</strong> CAC Meymac, <em><strong>O&ugrave; est la difference ?</strong></em><strong>2018</strong> Fondation Cl&eacute;ment, Martinique, Renault, <em><strong>L&rsquo;art de la collection</strong></em> BOAA (Biennale of Australian Art), Ballarat, <em><strong>Off the Map</strong></em> Frac Normandie-Rouen, <em><strong>Inventaire, vol. 8</strong></em><strong>2015</strong> Fondation Le Corbusier, Paris, <em><strong>Re-Corbusier</strong></em> Fondation Alvar Aalto, Maison Louis Carr&eacute;, <em><strong>Mise au vert</strong></em> Cit&eacute; de la c&eacute;ramique, S&egrave;vres, <em><strong>S&egrave;vres Outdoors</strong></em><strong>2013</strong> Les Abattoirs, Toulouse, <em><strong>Les Pl&eacute;iades</strong></em><strong>2012</strong> MAM Galerie, Rouen, <em><strong>La fureur de l&rsquo;&eacute;ternuement</strong></em><strong>2011</strong> FRAC Ile-de-France, Domaine de Rentilly, <em><strong>Round and Round and Round (part 2)</strong></em> Art dans les chapelles, Pays de Pontivy, (Notre Dame du Moustoir chapel) <strong>2010</strong> Villa des Tourelles, Nanterre, <em><strong>Les autres &oelig;uvres</strong></em><strong>2009</strong> FKSE Studio, Budapest, <em><strong>Free Your Mind</strong></em><strong>2008</strong> FRAC Poitou Charentes, <em><strong>Pi&egrave;ces &agrave; vivre</strong></em><strong>2006</strong> FRAC Haute-Normandie, <em><strong>Welcome Home</strong></em><strong>2005</strong> Abbaye Saint-Andr&eacute; centre d&rsquo;art contemporain, Meymac, <em><strong>Le canard &eacute;tait toujours vivant</strong></em> Centre photographique d&rsquo;ile-de-France, Pontault Combault, <em><strong>Trois et trois font&hellip;</strong></em> Parker&rsquo;s Box, New York, <em><strong>iamfive</strong></em><strong>2004</strong> Le Plateau - FRAC Ile-de-France, <em><strong>Voisinages</strong></em> Mains d&rsquo;&oelig;uvres, Saint-Ouen, <em><strong>H&ocirc;tel Reliance</strong></em> &nbsp; &nbsp;</p><h2>PUBLIC COLLECTIONS</h2><p>&nbsp; Fonds national d&rsquo;art contemporain (FNAC), Fonds r&eacute;gional d&rsquo;art contemporain (FRAC): Pays de la Loire, Ile-de-France, Haute-Normandie, Poitou-Charentes, Artoth&egrave;ques in Limoges, Caen and Pessac, Artbank Australia &nbsp; &nbsp;</p><h2>AWARDS AND COMMISSIONS</h2><p><strong>2021</strong> Sculpture commission, Courcelles-sur-Seine, <em><strong>Flood Abacus</strong></em><strong>2020</strong> Public art project, Coll&egrave;ge Aretha Franklin, Drancy, <em><strong>Alentour</strong></em><strong>2019</strong> Public art project, Coll&egrave;ge Jean Manet, Vertou, <em><strong>Recoins d&rsquo;Europe</strong></em><strong>2018</strong> Public art project, INSEP, Paris, <em><strong>D&eacute;tram&eacute;</strong></em><strong>2017</strong> Commission for a series of road signs,&nbsp;Renault Art Collection, <em><strong>&Eacute;tapes urbaines</strong></em><strong>2016</strong> Public art commission, Bellegarde College, <em><strong>Nouvelles du monde</strong></em><strong>2015</strong> Public art commission, Medical Biology Building, Limoges University, <em><strong>Prolif&eacute;rations</strong></em><strong>2014</strong> Main street commission, Lorne Sculpture Prize, <em><strong>Archives and Red Herrings</strong></em> Public art commission, Bourges Velodrome, <em><strong>R&eacute;sistance &agrave; l&rsquo;air</strong></em><strong>2013</strong> Public art commission, Internat d&rsquo;excellence, Montpellier <strong>2010</strong> Public art commission, Public housing, Vitry-sur-Seine <strong>2009</strong> Residency, K&uuml;nstlerhaus am Deich, Bremen <strong>2008</strong> Public art commission, INSEP, Paris, phase 3 completed in 2017 <strong>2007</strong> Residency, Santa Fe Art Institute Commission for series of photographs &amp; exhibition curatorship, FRAC Ile-de-France <strong>2006</strong> Residency, Budapest Gal&eacute;ria, Budapest, Cultures France and the City of Paris Commission for 10 photographs, City of Paris Residency, Ecole Nationale des Beaux-arts de Lyon <strong>2005</strong> Residency, Centre Photographique d&rsquo;Ile-de-France, Pontault-Combault <strong>2004</strong> Residency, 18th Street Arts Center, Los Angeles, Australia Council for the Arts Project grant, DRAC Ile-de-France &nbsp; &nbsp;</p><h2>CATALOGUES</h2><p>&nbsp; <em><strong>D&eacute;cor d&rsquo;une vie ordinaire</strong></em> (Setting for an Ordinary Life), 2014, &Eacute;ditions de l&rsquo;art &ndash; Mus&eacute;e national Fernand L&eacute;ger, article by Diana Gay, 48 pages <em><strong>Banlieues</strong></em>, 2012, Les R&eacute;servoirs, article by Karim Ghaddab, 24 pages <em><strong>Mus&eacute;es du monde</strong></em>, 2011, Artoth&egrave;que de Caen, 144 pages <em><strong>Vacances d&rsquo;hiver</strong></em> (Winter Vacation), 2011, Espace d&rsquo;art Rosa Bonheur, article by Jacinto Lageira, 52 pages <em><strong>Partie de chasse</strong></em> (Open Season), 2010, Ville de Vitry-sur-Seine, articles by Anthony Gardiner and Heidi Wood, 56 pages <em><strong>Enquire Within</strong></em>, 2010, image/imatge, box set of de 4 booklets <em><strong>Carnet sagace #20</strong></em>, 2009, &Eacute;cole sup&eacute;rieure d&rsquo;art des Pyr&eacute;n&eacute;es, article by Jacques Norigeon, 24 pages <em><strong>Heidi Wood, &oelig;uvres 2001-2007</strong></em>, 2008, &Eacute;ditions Filigranes, articles by Philippe Coubetergues, Frank Lamy and Stephen Wright, 112 pages <em><strong>Los Angles Diaries (Nutrition disguised as fun)</strong></em>, 2005, articles by Stephen Wright and Heidi Wood, 20 pages <em><strong>Heidi Wood &agrave; la Plan&egrave;te Magique</strong></em>, 2003, article by Judica&euml;l Lavrador, 10 pages <em><strong>La Maison de banlieue</strong></em> (The House in the Suburbs), 2002, Espace d&rsquo;art contemporain Camille Lambert, articles by Fabienne Fulch&eacute;ri and Suzie Attiwill, 20 pages <em><strong>Heidi Wood &agrave; IUFM</strong></em>, 2002, article by Philippe Coubetergues, 8 pages <em><strong>Serving Suggestions</strong></em>, 1999, article by Frank Lamy, 20 pages &nbsp; &nbsp;</p><h2>GROUP CATALOGUES</h2><p>&nbsp; <em><strong>X</strong></em>, 2021, Claude Closky, Frac Pays de la Loire <em><strong>Lasciate socchiuse le porte</strong></em>, 2021, Armando Editore, editorial committee: Beniamino Della Gala, Adrien Frenay, Filippo Milani, Lucia Quaquarelli <em><strong>20 ans d&rsquo;art en France, Une histoire sinon rien, 1999 &ndash; 2018</strong></em>, 2018, &Eacute;ditions Flammarion, Michel Gauthier and Marjolaine L&eacute;vy <em><strong>&eacute;critures 10</strong></em>, Traduire hors-lignes, 2018, Presses universitaires de Paris Nanterre, editorial committee: Adrien Frenay, Lucia Quaquarelli and Licia Reggiani <em><strong>Re-Corbusier</strong></em>, 2015, Fondation Le Corbusier, articles by Marjolaine L&eacute;vy and Catherine de Smet <em><strong>Les Pl&eacute;iades : 30 ans de cr&eacute;ation dans les FRAC</strong></em>, 2013, articles by Marie-C&eacute;cile Burnichon, Catherine Elkar and Sylvie Froux <em><strong>L&rsquo;art dans la ville</strong></em>, 2012, Fage &eacute;ditions, article by Ann Hindry <em><strong>La fureur de l&rsquo;&eacute;ternuement</strong></em>, 2012, &Eacute;ditions Friville, articles by Miguel Angel Molina and Baptiste Roux <em><strong>Les autres &oelig;uvres &ndash; La peinture et ses images</strong></em>, 2010, articles by Sandrine Moreau, Miguel Angel Molina and Pierre Baumann <em><strong>Sept/7</strong></em>, 2007, Frac Ile-de-France, article by Xavier Franceschi &nbsp; &nbsp;</p><h2>PRESS (selection)</h2><p>&nbsp; 2015 Eric Loret, <strong>Inferno.com</strong> 2009 Didier Arnaudet, <strong>Art Press n&deg; 355</strong> 2008 Lillian Davies, <strong>artforum.com</strong> Nathalie Heggert, <strong>artslant.com</strong> 2003 Raya Baudinet, <strong>Art Press n&deg; 292</strong> 2002 Alexandre Bohn, <strong>Art Press n&deg;285</strong> &nbsp; &nbsp;</p><h2>EDUCATION</h2><p>&nbsp; 2017-2018 Universit&eacute; Paris 8, Saint-Denis, M2, art department 1992-1995&nbsp; Ecole Nationale Sup&eacute;rieure des Beaux-arts, Paris, DNSAP, atelier Claude Viallat 1985-1987&nbsp; Victoria College, Prahran, Melbourne, Bachelor of Arts, Visual Art &nbsp; &nbsp;</p>',	'<h2>HEIDI WOOD<br>N&eacute;e en 1967 &agrave; London. Vit &agrave; Paris.</h2><p>&nbsp;</p><h2><strong>EXPOSITIONS PERSONNELLES&nbsp;</strong></h2><p>&nbsp;</p><p><strong>2021</strong></p><p>La H&ugrave;s, ESADHaR, Rouen, <em><strong>Display Home</strong></em><br><strong>2015</strong></p><p>Le 116, Montreuil, <em><strong>Production Site</strong></em><br><strong>2013</strong></p><p>Mus&eacute;e national Fernand L&eacute;ger, Biot, <em><strong>D&eacute;cor d&rsquo;une vie ordinaire</strong>&nbsp;</em><br>Galerie Anne Barrault, Paris, <em><strong>Petite Couronne</strong></em><br>FRAC Poitou Charentes, Angoul&ecirc;me, <em><strong>Apparitions collectives</strong></em><br><strong>2012</strong></p><p>Les R&eacute;servoirs, Limay, <em><strong>Banlieues</strong></em><br><strong>2011</strong></p><p>Maison des arts plastiques Rosa Bonheur, Chevilly-Larue, <em><strong>Vacances d&rsquo;hiver</strong></em><br>Artoth&egrave;que de Caen, <em><strong>Mus&eacute;es du monde</strong></em><br>Graineterie, Houilles,<em><strong>&nbsp;Cosmic</strong></em><br><strong>2010</strong></p><p>Galerie Herold, Bremen, <em><strong>Open Season</strong></em><br>Galerie Municipale, Vitry-sur-Seine, <em><strong>Partie de chasse</strong></em><br><strong>2009</strong></p><p>CAC Meymac, Abbaye Saint-Andr&eacute;, <em><strong>Vous &ecirc;tes ici</strong></em><br>Image Imatge, Orthez, <em><strong>Mount Isa</strong></em><br>ESAC, Pau, <em><strong>Dans l&rsquo;univers de Beckmann-N&rsquo;Th&eacute;p&eacute;</strong></em><br><strong>2008</strong></p><p>Galerie Anne Barrault, Paris, <em><strong>Date limite de consommation</strong></em><br><strong>2007</strong></p><p>ESAD, Amiens, <em><strong>Visitors&rsquo; Center</strong></em><br>Galerie Frederic Desimpel, Brussels, <em><strong>Made to Order</strong></em><br><strong>2006</strong></p><p>Le Hall, Ecole Nationale des Beaux-Arts, Lyon, <em><strong>Le Mus&eacute;e</strong></em><br>2005</p><p>Galerie Anne Barrault, Paris, <em><strong>Los Angeles</strong></em><br><strong>2003</strong></p><p>Galerie Anne Barrault, Paris, <em><strong>Plan&egrave;te Magique</strong></em><br>Galleria Plastica, Bologna<br><strong>2002</strong></p><p>Espace d&rsquo;art contemporain Camille Lambert, Juvisy-sur-Orge,<em><strong>&nbsp;La Maison de banlieue</strong></em></p><p>&nbsp;</p><p>&nbsp;</p><h2><strong>EXPOSITIONS COLLECTIVES (s&eacute;lection)</strong></h2><p>&nbsp;</p><p><strong>2021</strong></p><p>FRAC Pays de la Loire, commissariat Claude Closky, <em><strong>X</strong></em><br><strong>2020</strong></p><p>CAC Meymac, <em><strong>O&ugrave; est la difference ?</strong></em><br><strong>2018</strong></p><p>Fondation Cl&eacute;ment, Martinique, Renault, <em><strong>L&rsquo;art de la collection</strong></em><br>BOAA (Biennale of Australian Art), Ballarat, <em><strong>Off the Map</strong></em><br>Frac Normandie-Rouen, <em><strong>Inventaire, vol. 8</strong></em><br><strong>2015</strong></p><p>Fondation Le Corbusier, Paris, <em><strong>Re-Corbusier</strong></em><br>Fondation Alvar Aalto, Maison Louis Carr&eacute;, <em><strong>Mise au vert</strong></em><br>Cit&eacute; de la c&eacute;ramique, S&egrave;vres, <em><strong>S&egrave;vres Outdoors</strong></em><br><strong>2013</strong></p><p>Les Abattoirs, Toulouse, <em><strong>Les Pl&eacute;iades</strong></em><br><strong>2012</strong></p><p>MAM Galerie, Rouen, <em><strong>La fureur de l&rsquo;&eacute;ternuement</strong></em><br><strong>2011</strong></p><p>FRAC Ile-de-France, Domaine de Rentilly, <em><strong>Round and Round and Round (part 2)</strong></em><br>Art dans les chapelles, Pays de Pontivy, (Notre Dame du Moustoir chapel)<br><strong>2010</strong></p><p>Villa des Tourelles, Nanterre, <em><strong>Les autres &oelig;uvres</strong></em><br><strong>2009</strong></p><p>FKSE Studio, Budapest, <em><strong>Free Your Mind</strong></em><br><strong>2008</strong></p><p>FRAC Poitou Charentes, <em><strong>Pi&egrave;ces &agrave; vivre</strong></em><br><strong>2006</strong></p><p>FRAC Haute-Normandie, <em><strong>Welcome Home</strong></em><br><strong>2005</strong></p><p>Abbaye Saint-Andr&eacute; centre d&rsquo;art contemporain, Meymac, <em><strong>Le canard &eacute;tait toujours vivant</strong></em><br>Centre photographique d&rsquo;ile-de-France, Pontault Combault, <em><strong>Trois et trois font&hellip;</strong></em><br>Parker&rsquo;s Box, New York, <em><strong>iamfive</strong></em><br><strong>2004</strong></p><p>Le Plateau - FRAC Ile-de-France, <em><strong>Voisinages</strong></em><br>Mains d&rsquo;&oelig;uvres, Saint-Ouen, <em><strong>H&ocirc;tel Reliance</strong></em></p><p>&nbsp;</p><p>&nbsp;</p><h2>COLLECTIONS PUBLIQUES</h2><p>&nbsp;</p><p>Fonds national d&rsquo;art contemporain (FNAC), Fonds r&eacute;gional d&rsquo;art contemporain (FRAC): Pays de la Loire, Ile-de-France, Haute-Normandie, Poitou-Charentes,<br>Artoth&egrave;ques de Limoges, Caen et Pessac, Artbank Australia</p><p>&nbsp;</p><p>&nbsp;</p><h2>BOURSES, COMMANDES ET RESIDENCES</h2><p>&nbsp;</p><p><strong>2021</strong></p><p>Commande de sculpture, Courcelles-sur-Seine, <em><strong>Boulier &agrave; crue</strong></em><br><strong>2020</strong></p><p>Projet du 1% artistique, Coll&egrave;ge Aretha Franklin, Drancy, <em><strong>Alentour</strong></em><br><strong>2019</strong></p><p>Projet du 1% artistique, Coll&egrave;ge Jean Manet, Vertou, <em><strong>Recoins d&rsquo;Europe</strong></em><br><strong>2018</strong></p><p>Projet du 1% artistique, INSEP, Paris, <em><strong>D&eacute;tram&eacute;</strong></em><br><strong>2017</strong></p><p>Commande d&rsquo;&oelig;uvres de la collection d&rsquo;art, Renault, <em><strong>&Eacute;tapes urbaines</strong></em><br><strong>2016</strong></p><p>Projet du 1% artistique, Bellegarde College, <em><strong>Nouvelles du monde</strong></em><br><strong>2015</strong></p><p>Projet du 1% artistique, P&ocirc;le biologie-sante, Universit&eacute; de Limoges, <em><strong>Prolif&eacute;rations</strong></em><br><strong>2014</strong></p><p>Commande Main street, Lorne Sculpture Prize, <em><strong>Archives and Red Herrings</strong></em><br>Projet du 1% artistique, Bourges Velodrome, <em><strong>R&eacute;sistance &agrave; l&rsquo;air</strong></em><br><strong>2013</strong></p><p>Projet du 1% artistique, Internat d&rsquo;excellence, Montpellier<br><strong>2010</strong></p><p>Projet du 1% artistique, Public housing, Vitry-sur-Seine<br><strong>2009</strong></p><p>R&eacute;sidence &agrave;u K&uuml;nstlerhaus am Deich, Bremen<br><strong>2008</strong></p><p>Projet du 1% artistique, INSEP, Paris, phase 3 livr&eacute;e en 2017<br><strong>2007</strong></p><p>R&eacute;sidence au Santa Fe Art Institute<br>Projet scolaire et commande photographique, FRAC Ile-de-France et Lyc&eacute;e Galil&eacute;e<br><strong>2006</strong></p><p>R&eacute;sidence &agrave; Budapest Gal&eacute;ria, Budapest, Culturesfrance et la Ville de Paris</p><p>Commande de dix photographies de la Mairie du X&egrave;me arrondissement, Paris<br>R&eacute;sidence, Ecole Nationale des Beaux-arts de Lyon<br><strong>2005</strong></p><p>R&eacute;sidence, Centre Photographique d&rsquo;Ile-de-France, Pontault-Combault<br><strong>2004</strong></p><p>R&eacute;sidence, 18th Street Arts Center, Los Angeles, Australia Council for the Arts<br>Bourse individuelle &agrave; la cr&eacute;ation, DRAC Ile-de-France</p><p>&nbsp;</p><p>&nbsp;</p><h2>CATALOGUES</h2><p>&nbsp;</p><p><em><strong>D&eacute;cor d&rsquo;une vie ordinaire</strong></em> (Setting for an Ordinary Life), 2014, &Eacute;ditions de l&rsquo;art &ndash; Mus&eacute;e national Fernand L&eacute;ger,<br>texte de Diana Gay, 48 pages<br><em><strong>Banlieues</strong></em>, 2012, Les R&eacute;servoirs, texte de Karim Ghaddab, 24 pages<br><em><strong>Mus&eacute;es du monde</strong></em>, 2011, Artoth&egrave;que de Caen, 144 pages<br><em><strong>Vacances d&rsquo;hiver</strong></em> (Winter Vacation), 2011, Espace d&rsquo;art Rosa Bonheur, texte de Jacinto Lageira, 52 pages<br><em><strong>Partie de chasse</strong></em> (Open Season), 2010, Ville de Vitry-sur-Seine, textes de Anthony Gardiner et Heidi Wood, 56 pages<br><em><strong>Enquire Within</strong></em>, 2010, image/imatge, coffret de 4 livrets<br><em><strong>Carnet sagace #20</strong></em>, 2009, &Eacute;cole sup&eacute;rieure d&rsquo;art des Pyr&eacute;n&eacute;es, texte de Jacques Norigeon, 24 pages<br><em><strong>Heidi Wood, &oelig;uvres 2001-2007</strong></em>, 2008, &Eacute;ditions Filigranes, textes de Philippe Coubetergues, Frank Lamy<br>et Stephen Wright, 112 pages<br><em><strong>Los Angles Diaries (Nutrition disguised as fun)</strong></em>, 2005, textes de Stephen Wright et Heidi Wood, 20 pages<br><em><strong>Heidi Wood &agrave; la Plan&egrave;te Magique</strong></em>, 2003, texte de Judica&euml;l Lavrador, 10 pages<br><em><strong>La Maison de banlieue</strong></em>, 2002, Espace d&rsquo;art contemporain Camille Lambert, textes de Fabienne Fulch&eacute;ri et Suzie Attiwill, 20 pages<br><em><strong>Heidi Wood &agrave; IUFM</strong></em>, 2002, texte de Philippe Coubetergues, 8 pages<br><em><strong>Serving Suggestions</strong></em>, 1999, texte de Frank Lamy, 20 pages</p><p>&nbsp;</p><p>&nbsp;</p><h2>CATALOGUES COLLECTIFS</h2><p>&nbsp;</p><p><em><strong>X</strong></em>, 2021, Claude Closky, FRAC Pays de la Loire</p><p><em><strong>Lasciate socchiuse le porte</strong></em>, 2021, Armando Editore, comit&eacute; &eacute;ditorial :&nbsp; Beniamino Della Gala, Adrien Frenay, Filippo Milani, Lucia Quaquarelli<br><em><strong>20 ans d&rsquo;art en France, Une histoire sinon rien, 1999 &ndash; 2018</strong></em>, 2018, &Eacute;ditions Flammarion, Michel Gauthier et Marjolaine L&eacute;vy<br><em><strong>&eacute;critures 10</strong></em>, Traduire hors-lignes, 2018, Presses universitaires de Paris Nanterre, comit&eacute; &eacute;ditorial : Adrien Frenay, Lucia Quaquarelli et Licia Reggiani<br><em><strong>Re-Corbusier</strong></em>, 2015, Fondation Le Corbusier, textes de Marjolaine L&eacute;vy et Catherine de Smet<br><em><strong>Les Pl&eacute;iades : 30 ans de cr&eacute;ation dans les FRAC</strong></em>, 2013, textes de Marie-C&eacute;cile Burnichon, Catherine Elkar et Sylvie Froux<br><em><strong>L&rsquo;art dans la ville</strong></em>, 2012, Fage &eacute;ditions, texte de Ann Hindry<br><em><strong>La fureur de l&rsquo;&eacute;ternuement</strong></em>, 2012, &Eacute;ditions Friville, textes de Miguel Angel Molina et Baptiste Roux<br><em><strong>Les autres &oelig;uvres &ndash; La peinture et ses images</strong></em>, 2010, textes de Sandrine Moreau, Miguel Angel Molina et Pierre Baumann<br><em><strong>Sept/7</strong></em>, 2007, Frac Ile-de-France, texte de Xavier Franceschi</p><p>&nbsp;</p><p>&nbsp;</p><h2>PRESSE (selection)</h2><p>&nbsp;</p><p>2015 Eric Loret, <strong>Inferno.com</strong><br>2009 Didier Arnaudet, <strong>Art Press n&deg; 355</strong><br>2008 Lillian Davies, <strong>artforum.com</strong><br>Nathalie Heggert, <strong>artslant.com</strong><br>2003 Raya Baudinet, <strong>Art Press n&deg; 292</strong><br>2002 Alexandre Bohn, <strong>Art Press n&deg;285</strong></p><p>&nbsp;</p><p>&nbsp;</p><h2>FORMATION</h2><p>&nbsp;</p><p>2017-2018 Universit&eacute; Paris 8, Saint-Denis, M2, art contemporain<br>1992-1995&nbsp; &Eacute;cole nationale sup&eacute;rieure des beaux-arts, Paris, DNSAP, atelier de Claude Viallat<br>1985-1987&nbsp; Victoria College, Prahran, Melbourne, Bachelor of Arts (licence), arts plastiques</p><p>&nbsp;</p>',	'HEIDI WOOD CV',	'CURRICULUM VITAE',	NULL,	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'cv-lie-a-la-page-cv',	'heidi-wood-cv',	'',	'',	'2022-01-07 09:31:17',	NULL,	'2022-01-07 09:31:17',	'2023-11-01 14:42:35',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1683',	0,	'doc_article',	'doc_article',	'',	0),
(1692,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-16 16:10:00',	'2018-10-16 16:10:00',	'<p>In the beginning was an oil painting, 130 x 81 cm. (51 x 32 in.), titled <em>You Win Some, You Lose Some,</em> one of a series of abstract pictures by Heidi Wood. Variable in size, all the paintings in the series had bright, contrasting colors, abstract motifs, and were done on furnishing fabrics. That material governed their fate, in a way, because these same paintings were then incorporated, like a piece of furniture, into decorative interiors that Wood arranged and photographed. Hung on a blue wall, <em>You Win some, You Lose Some</em> thus becomes part of a composition that includes a Jielde lamp designed by Jean-Louis Domecq around 1950 and a chaise lounge designed by Le Corbusier, Pierre Jeanneret, and Charlotte Perriand in 1928. The floor is yellow, while the wall on the right is red. In another instance, <em>You Win Some, You Lose Some</em> was shown only with the Domecq lamp set on a black-and-white checkerboard floor. This approach describes Wood&rsquo;s entire <em>Serving Suggestions</em> series: one or two paintings are combined with a few chairs, armchair, or lamp designed in the twentieth century (sometimes accompanied by a plant, a low table, or standing ashtray), all set against brightly colored grounds. &nbsp; In addition to the allusion to Le Corbusier&rsquo;s color scheme in the photographed environment (blue, red, and yellow), it is impossible to overlook the similarity between the <em>Serving Suggestions</em> in general and the images used by the Salubra firm to promote the range of wallpapers designed by Le Corbusier, as seen in pictures reproduced in his 1959 book and in advertising that appeared upon its publication and afterward. A 1981 photograph shows the <em>Mur</em> (Wall) paper covering a wall in a room furnished with the 1928 chair flanked by a recent lamp. Hanging on another &mdash;red&mdash; wall is a painting by Le Corbusier. In the foreground, the green leaves of a potted plant complete the staging. &nbsp; Yet in <em>Serving Suggestions,</em> reminiscent of all those pictures swamping interior design and sales catalogs, the hierarchy remains uncertain: to what does the &ldquo;serving suggestion&rdquo; primarily apply? The painting enlivens the setting for the chaise lounge every bit as much as the chair graces the display of the painting, and the anachronism of their juxtaposition vanishes in the clich&eacute;d nature of the set-up&mdash;it is a perfectly modern picture. Wood thus explores the visual impact of contemporary advertising strategies, as also witnessed in her transposition of architectural profiles found in outlying urban areas into pictograms that she subsequently employs in various media (<em>Architecture de Zone p&eacute;ri-urbaine,</em> 2013), which also indicate, if somewhat differently, her interest in modernism and its repercussions. &nbsp; <strong>Catherine de Smet</strong>, 2015 <em>Re-Corbusier</em> catalogue</p>',	'<p>Au commencement, une peinture &agrave; l&rsquo;huile de 130 cm par 81 cm, intitul&eacute;e <em>You Win Some, You Lose Some</em> , appartenant &agrave; un ensemble de tableaux abstraits r&eacute;alis&eacute;s par l&rsquo;artiste. De formats variables, ceux-ci ont en commun leurs couleurs vives et contrast&eacute;es, leurs motifs abstraits et le tissu d&rsquo;ameublement qui leur sert de support &mdash; mat&eacute;riau qui en quelque sorte devait sceller leur destin. On retrouve en effet ces m&ecirc;me tableaux int&eacute;gr&eacute;s, tels des &eacute;l&eacute;ments de mobilier, &agrave; des espaces int&eacute;rieurs que Heidi Wood arrange, puis photographie. Accroch&eacute; sur un mur bleu, <em>You Win Some, You Lose Some&nbsp;</em> participe ainsi d&rsquo;une composition o&ugrave; interviennent &eacute;galement le lampadaire Jielde de Jean-Louis Domecq (con&ccedil;u vers 1950) et la chaise longue de Le Corbusier, Pierre Jeanneret et Charlotte Perriand (con&ccedil;ue en 1928). Le sol est jaune, le mur de droite est rouge. Une autre fois, <em>You Win Some, You Lose Some&nbsp;</em> appara&icirc;t seulement avec le luminaire de Domecq, pos&eacute; sur un sol en damier noir et blanc. La s&eacute;rie enti&egrave;re des Serving Suggestions repose sur ce principe&nbsp;: une ou deux peintures associ&eacute;es &agrave; quelques chaises, &agrave; un fauteuil, &agrave; une lampe dessin&eacute;s au XX<sup>e&nbsp;</sup>si&egrave;cle (parfois accompagn&eacute;s d&rsquo;une plante verte, d&rsquo;une table basse ou d&rsquo;un cendrier sur pied), se d&eacute;tachant sur des fonds aux teintes souvent vives.</p><p>&nbsp;</p><p>Outre la r&eacute;f&eacute;rence &agrave; Le Corbusier que constitue la polychromie de l&rsquo;espace bleu-rouge-jaune photographi&eacute;, on ne peut manquer de noter la parent&eacute; entre les Serving Suggestions en g&eacute;n&eacute;ral et les vues propos&eacute;es par la maison Salubra afin d&rsquo;assurer la promotion de la gamme de papiers peints cr&eacute;&eacute;e par l&rsquo;architecte (vues reproduites dans le livre de 1959 et dans des publicit&eacute;s distribu&eacute;es lors de sa publication, et ult&eacute;rieurement). Une photographie de 1981 pr&eacute;sente ainsi le papier peint &laquo;&nbsp;Mur&nbsp;&raquo; tapissant une paroi dans une pi&egrave;ce occup&eacute;e par la chaise longue de 1928 flanqu&eacute;e d&rsquo;un lampadaire r&eacute;cent. Sur l&rsquo;autre paroi, rouge, un tableau de Le Corbusier est suspendu. Au premier plan, les palmes vertes d&rsquo;une plante en pot compl&egrave;tent la mise en sc&egrave;ne.</p><p>&nbsp;</p><p>Dans les <em>Serving Suggestions</em>, qui rappellent les images dont regorgent les catalogues de vente et les magazines de d&eacute;coration, la hi&eacute;rarchie est incertaine&nbsp;: &agrave; quoi se rapporte en premier chef la &laquo;&nbsp;suggestion de pr&eacute;sentation&nbsp;&raquo;&nbsp;? Le tableau vient rehausser l&rsquo;environnement de la chaise longue autant que celle-ci vient meubler l&rsquo;espace d&rsquo;exposition du tableau, et l&rsquo;anachronie de leur rapprochement est effac&eacute;e par la logique convenue de l&rsquo;installation : un parfait clich&eacute; moderne. Heidi Wood s&rsquo;int&eacute;resse ainsi aux r&eacute;percussions visuelles des strat&eacute;gies de communication contemporaines. En t&eacute;moigne aussi sa traduction de la silhouette de grands ensembles de banlieue en pictogrammes d&eacute;clin&eacute;s ensuite sur divers supports (<em>Architecture de zone p&eacute;ri-urbaine</em>, 2013), qui marquent &eacute;galement, d&rsquo;une autre mani&egrave;re, son int&eacute;r&ecirc;t pour la modernit&eacute; et ses suites.</p><p>&nbsp;</p><p><strong>Catherine de Smet</strong>, 2015</p><p>Catalogue <em>Re-Corbusier</em></p><p>Catalogue Re-Corbusier</p>',	'RE-CORBUSIER',	'CATHERINE DE SMET',	'RE-CORBUSIER CATALOGUE, 2015',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	're-corbusier-catalogue-catherine-de-smet-2015',	're-corbusier-catalogue-catherine-de-smet-2015',	'',	'',	'2018-10-19 12:57:48',	NULL,	'2018-10-19 12:57:48',	'2023-10-30 16:39:14',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1692',	0,	'doc_article',	'doc_article',	'',	0),
(1695,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-15 16:14:34',	'2018-10-15 16:14:34',	'<p>We discovered Heidi Wood&rsquo;s work in the early 2000&rsquo;s via a strategy that highlighted the decorative nature of abstract painting. The artist designed domestic settings (such as a living room with wallpaper and a lamp) in which she hung her own abstract compositions. The installation was photographed or its characteristics laid out in a formula, to constitute, in marketing terms, a &ldquo;serving suggestion&rdquo;. &nbsp; This also indicates her interest in the intrusion of corporate economics in the means of producing and exhibiting art. She demonstrates this in a range of means (sometimes as over the top as the economic intrusion is outrageous): distributing her artworks in the form of spams, delegating production, defining a use-by date for her paintings, hanging works in settings similar to trade fair stands, creating works in forms inspired by merchandising&hellip; &nbsp; As an artist in residence or in public art projects, Heidi Wood explores cities that are often unknown and from which she attempts to extract the essence. In an aesthetic similar to geometric painting, her syntheses of the urban environment are translated into pictograms. Like promotional logos, these are printed on cheap materials (plates, postcards, calendar, street sign, etc.) thus maintaining the confusion between various domains. &nbsp; Accepting the invitation to celebrate the Fracs&rsquo; 30-year anniversary allowed Heidi Wood to apply her working methods to a public collection. &nbsp; In &laquo;&nbsp;Apparitions collectives&nbsp;&raquo;, two directions are developed:&nbsp;presenting the works based on common themes and distilling into pictograms possible syntheses of this collection. For each &ldquo;apparition&rdquo; one work is exhibited and others are represented schematically as a wall painting. Four of the 14 pieces created are reactivated in Toulouse after two initial cycles (partners in the Poitou Charentes region, then at the Frac in Angoul&ecirc;me): &nbsp; - with works by Didier Marcel (Philippe Pareno and Maurizio Cattelan, Pierre Malphettes), structures describe micro-utopias and/or the creation of places that favor interactions. Without being especially revolutionary, the utopia seeks to be relational and starts downstairs ; - beside the work by Ingrid Luche (Mark Handforth, Mariano Fortuny), ambiguous, poetic, functional or graphic, lights become the raw material for creation; - J. Duplo&rsquo;s bricks are typical of the repetitive application of a system. The use of poor and unexpected materials highlights the ingenious and obsessional nature of a gesture (&nbsp;Nathalie Talec, Vincent Ganivet); - using digital means to create a formal synthesis, the piece with Delphine Coindet (Xavier Veilhan) can be introduced by: &ldquo;For me, art is focusing on things we know exist but that we don&rsquo;t see. I want to create logotypes that place the viewer before a question.&rdquo; (X.V.) &nbsp; <strong>H&eacute;l&egrave;ne Dantic</strong> Text for the catalogue <em>Les Pl&eacute;iades, 30 ans des Fonds R&eacute;gionaux d&rsquo;art contemporain</em> 28/09/2013 - 05/01/2014</p>',	'<p>On a d&eacute;couvert le travail d&#39;Heidi Wood au d&eacute;but des ann&eacute;es 2000 par une strat&eacute;gie qui mettait en avant le devenir d&eacute;coratif de la peinture abstraite : l&#39;artiste concevait des d&eacute;cors domestiques (type salon avec papier peint et luminaire) dans lesquels elle accrochait ses propres compositions abstraites. L&#39;ensemble &eacute;tait pris en photo ou propos&eacute; sous forme de protocole et constituait, dans une logique marketing, une &quot;suggestion de pr&eacute;sentation&quot;.</p><p>&nbsp;</p><p>Ceci t&eacute;moigne &eacute;galement de son int&eacute;r&ecirc;t pour l&#39;intrusion de l&#39;&eacute;conomie d&#39;entreprise dans les modes de production et de diffusion de l&#39;art. Elle d&eacute;montre celle-ci par divers moyens (parfois aussi exag&eacute;r&eacute;s que l&#39;intrusion &eacute;conomique peut-&ecirc;tre outranci&egrave;re) : diffusion de ses oeuvres sous forme de spams, d&eacute;l&eacute;gation de la production, d&eacute;finition d&#39;une date de p&eacute;remption des tableaux, accrochages qui s&#39;inspirent du stand de foire ou du syndicat d&#39;initiative, d&eacute;clinaison de ses oeuvres sous des formes qui empruntent au merchandising...</p><p>&nbsp;</p><p>Dans le cadre de r&eacute;sidences ou de commandes publiques, Heidi Wood a pour terrain d&#39;exploration des villes souvent inconnues dont elle cherche &agrave; extraire l&#39;essence. Dans une esth&eacute;tique proche de la peinture g&eacute;om&eacute;trique, c&#39;est sous la forme de pictogrammes que ces synth&egrave;ses de l&#39;espace urbain se traduisent. A la mani&egrave;re de logotypes promotionnels, ceux-ci sont imprim&eacute;s sur des supports bons march&eacute;s (assiette, carte postale, calendrier, panneau signal&eacute;tique...) qui maintiennent la confusion entre divers domaines.</p><p>R&eacute;pondre &agrave; l&#39;invitation des 30 ans des Frac a permis &agrave; Heidi Wood d&#39;appliquer ses m&eacute;thodes de travail &agrave; une collection publique.</p><p>&nbsp;</p><p>Dans les &quot;Apparitions collectives&quot;, deux axes sont d&eacute;velopp&eacute;s : mettre en sc&egrave;ne des oeuvres autour de th&eacute;matiques communes et d&eacute;canter sous forme de pictogrammes de possibles synth&egrave;ses de cette collection. Pour chaque &quot;Apparition&quot;, une oeuvre est expos&eacute;e et les autres sont sch&eacute;matiquement repr&eacute;sent&eacute;es en peinture murale. Quatre des 14 protocoles cr&eacute;&eacute;s sont r&eacute;activ&eacute;s &agrave; Toulouse apr&egrave;s deux premiers cycles (partenaires en r&eacute;gion Poitou Charentes puis au FRAC &agrave; Angoul&ecirc;me) :</p><p>&nbsp;</p><p>- avec l&#39;oeuvre de Didier Marcel (Philippe Pareno et Maurizio Cattelan, Pierre Malphettes), des structures relatent des micro-utopies et/ou l&#39;am&eacute;nagement des espaces favorables aux &eacute;changes. Sans grande r&eacute;volution, l&#39;utopie se veut relationnelle et d&eacute;bute au bas de l&#39;immeuble ;<br>- aux c&ocirc;t&eacute;s de l&#39;oeuvre d&#39;Ingrid Luche (Mark Handforth, Mariano Fortuny), ambigus, po&eacute;tiques, usuels ou graphiques, les luminaires deviennent mati&egrave;res premi&egrave;res &agrave; la cr&eacute;ation ;<br>- les briques de J. Duplo caract&eacute;risent l&#39;application r&eacute;p&eacute;titive d&#39;un syst&egrave;me. L&#39;usage de mat&eacute;riaux pauvres et inattendus met en avant l&#39;ing&eacute;niosit&eacute; et l&#39;obsession d&#39;un geste ( Nathalie Talec, Vincent Ganivet) ;<br>- outil num&eacute;rique de synth&egrave;se formelle, on peut introduire le dispositif avec Delphine Coindet (Xavier Veilhan) par : &quot;L&#39;art pour moi, c&#39;est faire &eacute;merger des choses dont on conna&icirc;t l&#39;existence, mais que l&#39;on ne voit pas. Je veux cr&eacute;er des sortes de logotypes qui placent le spectateur devant un questionnement.&quot; (X.V.)</p><p>&nbsp;</p><p><strong>H&eacute;l&egrave;ne Dantic</strong></p><p>Texte du catalogue pour l&#39;exposition <em>Les Pl&eacute;iades, 30 ans des Fonds R&eacute;gionaux d&#39;art contemporain</em><br>28/09/2013 - 05/01/2014</p>',	'APPARITIONS COLLECTIVES',	'HÉLÈNE DANTIC',	'APPARITIONS COLLECTIVES, 2014',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'apparitions-collectives-helene-dantic-2014',	'apparitions-collectives-helene-dantic-2014',	'',	'',	'2018-10-19 17:31:16',	NULL,	'2018-10-19 17:31:16',	'2023-10-30 16:39:58',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1695',	0,	'doc_article',	'doc_article',	'',	0),
(1700,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-14 16:27:49',	'2018-10-14 16:27:49',	'<p><em>A work of art today must withstand comparison</em><em>to any manufactured object. The artist-painting is false and outdated.</em><em>Only the object-painting is capable of resisting the comparison and holding up over time.</em> &nbsp; <strong>Fernand L&eacute;ger</strong> &nbsp; According to English ethnologists at the end of the nineteenth century such as Alfred Cort Haddon, the development of decoration since prehistoric times marks the beginning of the cultural history of forms, thus linking from the outset art and the decorative.<a href=\"#_ftn1\" name=\"_ftnref1\">[1]</a> In autumn 2013, the Mus&eacute;e national Fernand L&eacute;ger and the Mus&eacute;e d&rsquo;histoire et de c&eacute;ramique biotoises invite Australian artist Heidi Wood to continue this dialogue between fine art and applied arts, in connection with the pertinent distinction L&eacute;ger made between easel painting and ornamental painting. The result is the two-part exhibition, Setting for an Ordinary Life. &nbsp; Experimenting with images on all surfaces, Heidi Wood draws together two notions of time (universal and contextual) as a traveller and artist in residence. &ldquo;I explore the use of pictograms in the simulation and evocation of an idealized world. I continue to design repertoires of forms in response to a given context. But the forms are no longer presented via series of photographs to (potentially) become paintings. The physical artwork has disappeared. I now prefer to make ephemeral environments.&rdquo; Pursuing her visual infiltration of reality in a dizzying, self-promoting marketing campaign, Heidi Wood undermines the functionality of objects by exploiting their visual potential (street sign, billboard, flag shield, pencil case, souvenir plate, etc.) With the series Serving Suggestions begun in 2001 (abstract paintings in modernist interior settings), the artist acknowledges that the artwork, reduced to an image, has been stripped of its aura, as foreseen by Walter Benjamin in 1935.<a href=\"#_ftn2\" name=\"_ftnref2\">[2]</a>. Her advertising-inspired photographs thus turn the viewer into a consumer. &nbsp; In Biot, Heidi Wood sets up a dialogue between her pictographic landscapes and Fernand L&eacute;ger&rsquo;s progressive aesthetic in close relation to the town where the painter practiced ceramics from 1949 to 1955. An urban theme runs through these three elements, as this was essential to L&eacute;ger&rsquo;s work. Indeed, from the 1920&rsquo;s he was enthusiastic about the architectural and social innovations developed and practiced by friends such as Le Corbusier or Robert Mallet-Stevens. Lucid, he nonetheless advocated painting&rsquo;s integration into architecture and wanted artists to reclaim the visual impact of advertising. During the aviation salon in Paris in 1912, along with Marcel Duchamp and Constantin Brancusi, he acknowledged the competition of the industrial object (a propeller, in this case). While Duchamp stopped painting in favor of a conceptualization of the artistic act, Fernand L&eacute;ger opted for a strategy of integrating painting into total art projects in architecture, cinema or theater. Convinced that art is a means not an end, he discovered the working class during the First World War that he spent at the front alongside miners, tradesmen and road workers. This shift in perspective made him aware that the near-abstraction he had reached in his cubist-inspired series Contrastes de formes distanced him from the man in the street. During the famous debates at the Maison du peuple in 1936 during which he opposed defenders of socialist realism such as Aragon, he advocated the necessity of art education for all and refused the instrumentalization of art for popularity-seeking or individualistic purposes: &quot;If our artworks have not permeated the masses, I repeat, it is the fault of the current social order and not because these artworks lack humanity. <a href=\"#_ftn3\" name=\"_ftnref3\">[3]</a>&quot; From then on, he illustrated his concept of nouveau r&eacute;alisme by focusing on the everyday object rather than the romantic subject, which had been rife since the Italian Renaissance. In 1923 - 24, he maintained &rdquo;Beauty is everywhere, in the order of your saucepans, on the white wall of your kitchen, perhaps more so than in your &nbsp; 18th century living room or in official museums&rdquo;<a href=\"#_ftn4\" name=\"_ftnref4\">[4]</a>. With his theory of contrasts, he laid claim to the beauty of the pure means available to the painter (line, form, color). &nbsp; With her project Sister Suburbs begun in 2011, Heidi Wood takes stock of this progressive history of 20th century art in light of today&rsquo;s suburban environment, often scorned as less patrimonial than the city center. Her homage to suburbia invites us to change the way we look at the constructed environment, its visual codes and also its contradictions. Halfway between irony and political stance, she explores the social function at the heart of the avant-garde utopia. Influenced by the constructivist aesthetic of Malevich and the Bauhaus, she questions the capacity of non-figurative art to merge with everyday life. What relationship can the painter really establish with her fellow citizens? Does she see the systematic appropriation of geometric abstraction&rsquo;s topos by design and visual communication as the victory or bankruptcy of modernism? What is the artist&rsquo;s place in today&rsquo;s global economy of goods and services? As Nicolas Bourriaud says, (...) &quot;the abstract glossary allows us to apprehend a visible (architectural, social or economic) reality that capitalism has turned into abstract painting&quot;.<a href=\"#_ftn5\" name=\"_ftnref5\">[5]</a> &nbsp; A service provider to her own creative undertaking, Heidi Wood provides an answer by examining the signs generated by the regions she visits. The renewed way of seeing she offers us questions the values underlying our era and consequently the way we look at it. As such, Heidi Wood clearly incarnates the still relevant utopia of 20th century avant-gardes: our awareness will change the world. &nbsp; In the two-part exhibition <em>Setting for an Ordinary Life</em>, Heidi Wood presents us with an uplifting mise en abyme. Viewers become actors, despite themselves, in a reality show. From inside a museum, they are asked to admire the domestic environment in which they live. All-over painting renders the space concrete by putting homo erectus (back) in its center. At the Mus&eacute;e national Fernand L&eacute;ger the exhibition <em>The Projects</em> thus immerses the visitor in a total artwork by recreating a standardized apartment in a housing project. Between high art, applied arts and popular taste, the artist is amused by the ambiguous status of her own works that she makes herself or gets others to make for her. Road signs printed with floral motifs are hung on blocks of color painted on walls that evoke the clich&eacute;s of anonymous suburban architecture. White sculptures based on floor plans from social housing are used as display cabinets for souvenir plates representing electrical towers. &nbsp; At the Mus&eacute;e d&rsquo;histoire et de c&eacute;ramique biotoises, the exhibition <em>House</em> is a lively dialogue between the collections that describe daily life in this beautiful hilltop village in Provence and Heidi Wood&rsquo;s industrial aesthetic. Reinforced by a roadside trail of posters through Biot of five posters with floral or architectural motifs on blocks of color, these exhibitions interact dynamically with two urban realities on the C&ocirc;te d&rsquo;Azur: <em>The Projects</em> at the Mus&eacute;e L&eacute;ger looks at the dialogue between painting and low-budget architecture while <em>House</em> at the Mus&eacute;e d&rsquo;histoire et de c&eacute;ramique explores the connection between applied arts and everyday objects. &nbsp; For Fernand L&eacute;ger and Heidi Wood, painting&rsquo;s strength is as a means of visual education capable of countering mankind&rsquo;s alienation by mankind. Their strategy of distancing themselves from reality allows them to look at it more intensely - benevolently but without romanticism. Beyond the canvas, can painting be inhabited? Does our standardized habitat indicate that a learned art form has finally reached the masses? In attempting an answer, Heidi Wood takes her turn at enriching the cultural history of forms. &nbsp; <strong>Diana Gay</strong>, 2013 <em>D&eacute;cor d&rsquo;une vie ordinaire (Setting for an Ordinary Life)</em> catalogue &nbsp;</p><h5><a href=\"#_ftnref1\" name=\"_ftn1\">[1]</a> &nbsp;&nbsp;&nbsp;&nbsp; Guitemie Maldonado, &ldquo;Chapitre 1 / Arch&eacute;ologie du terme&rdquo; in Le cercle et l&#39;amibe. Le biomorphisme dans l&#39;art des ann&eacute;es 1930, Paris, INHA/CTHS (&ldquo;Les Essais de l&#39;INHA&rdquo;), 2006 [on-line], put on-line December 7 2010, consulted August 10 2013, http://inha.revues.org/2876.</h5><h5><a href=\"#_ftnref2\" name=\"_ftn2\">[2]</a> &nbsp;&nbsp;&nbsp; Walter Benjamin, L&#39;oeuvre d&#39;art &agrave; l&#39;&eacute;poque de sa reproductibilit&eacute; technique, Paris, Allia, 2003.</h5><h5><a href=\"#_ftnref3\" name=\"_ftn3\">[3]</a> &nbsp;&nbsp;&nbsp; Fernand L&eacute;ger, &ldquo;Le nouveau r&eacute;alisme continue&rdquo;, Fonctions de la peinture, Paris, Gallimard coll. Folio Essais, 2009, p. 197.</h5><h5><a href=\"#_ftnref4\" name=\"_ftn4\">[4]</a> &nbsp;&nbsp;&nbsp; Fernand L&eacute;ger, &ldquo;L&#39;esth&eacute;tique de la machine, l&#39;objet fabriqu&eacute;, l&#39;artisan et l&#39;artiste&rdquo;, ibid, p. 88.</h5><h5><a href=\"#_ftnref5\" name=\"_ftn5\">[5]</a> &nbsp;&nbsp;&nbsp; Nicolas Bourriaud, Sarah Morris. Mechanical Ballet, digital catalogue of the exhibition held at the Mus&eacute;e national Fernand L&eacute;ger (November 17 2012 - March 4 2013), [on-line], p. 5, consulted August 13 2013, <a href=\"http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf\">http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf</a></h5><p>&nbsp; &nbsp; &nbsp;</p>',	'<p><em>Une oeuvre d&#39;art actuelle doit supporter la comparaison de fait</em></p><p><em>avec n&#39;importe quel objet fabriqu&eacute;. Le tableau-artiste est faux et p&eacute;rim&eacute;.</em></p><p><em>Le tableau-objet est seul capable de subir la comparaison et de r&eacute;sister au temps.</em></p><p>&nbsp;</p><p><strong>Fernand L&eacute;ger</strong></p><p>&nbsp;</p><p>Selon les ethnologues anglais de la fin du XIX<sup>e</sup> si&egrave;cle tel Alfred Cort Haddon, l&#39;&eacute;volution du d&eacute;cor depuis la Pr&eacute;histoire initie les pr&eacute;mices de l&#39;histoire culturelle des formes, liant d&egrave;s l&#39;origine l&#39;art et la notion de d&eacute;coratif.<a href=\"#_ftn1\" name=\"_ftnref1\">[1]</a> A l&rsquo;automne 2013, le mus&eacute;e national Fernand L&eacute;ger et le mus&eacute;e d&rsquo;histoire et de c&eacute;ramique biotoises invitent l&rsquo;artiste australienne Heidi Wood &agrave; poursuivre ce dialogue entre beaux-arts et arts appliqu&eacute;s, en lien avec la distinction pertinente &eacute;tablie par L&eacute;ger entre tableau de chevalet et peinture ornementale. De cette rencontre in&eacute;dite est n&eacute;e l&rsquo;exposition D&eacute;cor d&rsquo;une vie ordinaire, con&ccedil;ue en deux volets.</p><p>&nbsp;</p><p>Exp&eacute;rimentant la picturalit&eacute; sur tous supports, Heidi Wood croise deux temporalit&eacute;s (universelle et contextuelle) au gr&eacute; de ses voyages et de ses r&eacute;sidences de cr&eacute;ation : &laquo;&nbsp;J&rsquo;explore l&rsquo;utilisation de pictogrammes dans la simulation et l&rsquo;&eacute;vocation d&rsquo;un monde id&eacute;alis&eacute;. Je continue &agrave; concevoir des r&eacute;pertoires de formes en regard d&rsquo;un contexte pr&eacute;cis. Mais ces formes ne sont plus propos&eacute;es &agrave; travers des s&eacute;ries photographiques pour devenir (&eacute;ventuellement) des tableaux : l&rsquo;oeuvre mat&eacute;rielle disparait. Je lui pr&eacute;f&egrave;re des environnements &eacute;ph&eacute;m&egrave;res&nbsp;&raquo;. Poursuivant son infiltration picturale du r&eacute;el par un vertigineux marketing autopromotionnel, Heidi Wood d&eacute;tourne la fonctionnalit&eacute; des objets en utilisant leur potentiel visuel (panneau d&#39;affichage ou routier, fanion ou trousse, assiette d&eacute;corative ...). Avec la s&eacute;rie des Serving Suggestions initi&eacute;e en 2001 (tableaux abstraits int&eacute;gr&eacute;s &agrave; des int&eacute;rieurs d&#39;esprit moderniste), l&#39;artiste prend acte de la banalisation de l&#39;oeuvre d&#39;art r&eacute;duite &agrave; une image, telle qu&#39;annonc&eacute;e par Walter Benjamin en 1935.<a href=\"#_ftn2\" name=\"_ftnref2\">[2]</a>. Ses mises en sc&egrave;ne de type publicitaire transforment en cons&eacute;quence le spectateur en consommateur.</p><p>&nbsp;</p><p>A Biot, Heidi Wood fait ainsi dialoguer ses paysages pictographiques avec l&rsquo;esth&eacute;tique progressiste de Fernand L&eacute;ger en lien &eacute;troit avec la ville o&ugrave; le peintre normand pratiqua la c&eacute;ramique entre 1949 et 1955. Le th&egrave;me urbain sert de fil rouge entre ces trois r&eacute;alit&eacute;s car il constitue un enjeu central dans l&rsquo;oeuvre de l&#39;artiste. En effet, Fernand L&eacute;ger s&rsquo;enthousiasme d&egrave;s les ann&eacute;es 1920 pour l&rsquo;innovation tant architecturale que sociale d&eacute;velopp&eacute;e par le Style international et mise en oeuvre par ses amis Le Corbusier ou Robert Mallet-Stevens. Lucide, il revendique n&eacute;anmoins l&rsquo;int&eacute;gration de la peinture dans l&rsquo;architecture et la reconqu&ecirc;te par les artistes de l&rsquo;impact visuel g&eacute;n&eacute;r&eacute; par la publicit&eacute;. Lors du Salon de l&#39;aviation &agrave; Paris en 1912, il prend acte avec Marcel Duchamp et Constantin Brancusi de la concurrence de l&#39;objet industriel, en l&#39;occurence une h&eacute;lice. Si Duchamp cesse de peindre au profit d&#39;une conceptualisation de l&#39;acte artistique, Fernand L&eacute;ger opte pour une strat&eacute;gie d&#39;int&eacute;gration de la peinture aux projets d&#39;art total tels que l&#39;architecture, le cin&eacute;ma ou le spectacle. Convaincu que l&#39;art est un moyen et non une fin, il d&eacute;couvre le peuple lors de la Premi&egrave;re Guerre mondiale qu&#39;il passa sur le front aux c&ocirc;t&eacute;s de mineurs, d&#39;artisans ou de terrassiers. Cette rupture lui fait prendre conscience que la quasi-abstraction &agrave; laquelle aboutit alors sa s&eacute;rie cubisante des Contrastes de formes l&#39;&eacute;loigne de l&#39;homme de la rue. Lors des fameux d&eacute;bats &agrave; la Maison du peuple en 1936 qui l&#39;opposent aux tenants du r&eacute;alisme socialiste dont Aragon, il revendique la n&eacute;cessit&eacute; d&#39;une &eacute;ducation artistique pour tous et refuse l&#39;instrumentalisation de l&#39;art &agrave; des fins d&eacute;magogiques ou individualistes : &quot;Si nos oeuvres n&#39;ont pas p&eacute;n&eacute;tr&eacute; dans le peuple, c&#39;est la faute, je le r&eacute;p&egrave;te, &agrave; l&#39;ordre social actuel et non pas parce que ces oeuvres manquent d&#39;humanit&eacute;&quot;.<a href=\"#_ftn3\" name=\"_ftnref3\">[3]</a> Il illustre d&eacute;sormais son concept de nouveau r&eacute;alisme par la valorisation de l&#39;objet quotidien au d&eacute;triment du sujet romantique s&eacute;vissant depuis la Renaissance italienne. En 1923-24, il affirme ainsi que &laquo;&nbsp;Le Beau est partout, dans l&#39;ordre de vos casseroles, sur le mur blanc de votre cuisine, plus peut-&ecirc;tre que dans votre salon XVIII<sup>e</sup> si&egrave;cle ou dans les mus&eacute;es officiels&nbsp;&raquo;.<a href=\"#_ftn4\" name=\"_ftnref4\">[4]</a> Au moyen de sa th&eacute;orie des contrastes, il revendique la beaut&eacute; des moyens purs du peintre (ligne, forme, couleur).</p><p>&nbsp;</p><p>Avec son projet <em>Sister Suburbs</em> initi&eacute; en 2011, Heidi Wood dresse l&rsquo;&eacute;tat des lieux de cette histoire progressiste de l&rsquo;art du XX<sup>e</sup> si&egrave;cle au regard de l&rsquo;actuel environnement p&eacute;ri-urbain, souvent d&eacute;daign&eacute; au profit du centre-ville jug&eacute; plus patrimonial. L&rsquo;hommage qu&rsquo;elle porte &agrave; la banlieue constitue ainsi une invitation &agrave; regarder autrement le paysage construit, ses codes visuels mais &eacute;galement ses contradictions. Entre ironie et militantisme, l&rsquo;artiste revisite la fonction sociale de l&rsquo;art situ&eacute;e au coeur de l&rsquo;utopie des avant-gardes. Marqu&eacute;e par l&#39;esth&eacute;tique constructiviste de Mal&eacute;vitch et du Bauhaus, elle interroge la capacit&eacute; de l&#39;art non-figuratif &agrave; fusionner avec la vie quotidienne. Quelle relation le peintre peut-il concr&egrave;tement &eacute;tablir avec ses concitoyens ? L&#39;appropriation g&eacute;n&eacute;ralis&eacute;e des topos de l&#39;abstraction g&eacute;om&eacute;trique par la communication visuelle et le design s&#39;analyse-t-elle comme une victoire ou une faillite du courant moderne ? Quelle place occupe l&#39;artiste dans l&#39;&eacute;conomie aujourd&#39;hui mondialis&eacute;e des biens et des services ? Comme l&#39;&eacute;nonce Nicolas Bourriaud, (...) &quot;le glossaire abstrait permet de rendre compte d&rsquo;une r&eacute;alit&eacute; visible (architecturale, sociale ou &eacute;conomique) que le capitalisme a transform&eacute;e en tableau abstrait&quot;.<a href=\"#_ftn5\" name=\"_ftnref5\">[5]</a></p><p>&nbsp;</p><p>Prestataire au service de sa propre d&eacute;marche cr&eacute;atrice, Heidi Wood apporte une r&eacute;ponse par l&#39;application d&#39;un protocole visuel d&#39;interrogation &agrave; partir des signes que lui renvoient les territoires qu&#39;elle traverse. Le renouvellement du regard qu&#39;elle propose questionne les valeurs qui sous-tendent notre &eacute;poque et par cons&eacute;quent le regard que nous portons sur elle. En cela, Heidi Wood incarne d&#39;&eacute;vidence l&#39;utopie pertinente des avant-gardes du XX<sup>e</sup> si&egrave;cle : le monde changera d&#39;abord gr&acirc;ce au regard lucide port&eacute; sur lui.</p><p>&nbsp;</p><p>Dans l&#39;exposition en diptyque <em>D&eacute;cor d&#39;une vie ordinaire</em>, l&#39;artiste propose un dispositif r&eacute;jouissant de mise en abyme. Acteur malgr&eacute; lui d&#39;un reality show, le public est invit&eacute; au mus&eacute;e &agrave; admirer l&#39;espace domestique dans lequel il vit. Spatialis&eacute;e, la peinture rend l&#39;espace concret en (re)pla&ccedil;ant l&#39;homo erectus en son centre. Au mus&eacute;e national Fernand L&eacute;ger, le volet <em>Grand ensemble</em> immerge ainsi le visiteur dans une oeuvre d&rsquo;art totale reconstituant un appartement standardis&eacute; de type HLM. Entre beaux-arts, art appliqu&eacute;s et go&ucirc;t populaire, l&rsquo;artiste s&rsquo;amuse du statut ambigu de ses oeuvres qu&#39;elle r&eacute;alise elle-m&ecirc;me ou dont elle d&eacute;l&egrave;gue la production &agrave; des tiers. L&rsquo;art est-il soluble dans le d&eacute;coratif ? Des panneaux routiers au motif floral sont accroch&eacute;s sur des peintures murales en aplats monochromes &eacute;voquant des poncifs de l&rsquo;architecture anonyme des banlieues. Des sculptures blanches en forme de plans de sol d&rsquo;immeubles sociaux sont d&eacute;tourn&eacute;es : elles servent de pr&eacute;sentoir pour des assiettes souvenir en porcelaine repr&eacute;sentant un pyl&ocirc;ne &eacute;lectrique.</p><p>&nbsp;</p><p>Au mus&eacute;e d&rsquo;histoire et de c&eacute;ramique biotoises, le volet <em>Pavillon</em> propose un dialogue vivifiant entre les collections retra&ccedil;ant la vie quotidienne dans ce beau village proven&ccedil;al et les oeuvres &agrave; l&rsquo;esth&eacute;tique industrielle de Heidi Wood. Renforc&eacute; par un jalonnement routier constitu&eacute; de 5 affiches aux motifs floraux ou architecturaux sur des fonds en aplats color&eacute;s, ce parcours biotois suscite une interaction dynamique entre deux r&eacute;alit&eacute;s urbaines du territoire de la C&ocirc;te d&rsquo;Azur, l&rsquo;une au mus&eacute;e L&eacute;ger sur le th&egrave;me du dialogue entre peinture et architecture bon march&eacute; et l&rsquo;autre au mus&eacute;e d&rsquo;histoire et de c&eacute;ramique en lien avec les m&eacute;tiers d&rsquo;art et l&rsquo;objet quotidien.</p><p>&nbsp;</p><p>Pour Fernand L&eacute;ger et Heidi Wood, la force de la peinture s&#39;incarne dans une p&eacute;dagogie visuelle capable de s&#39;opposer &agrave; l&#39;ali&eacute;nation de l&#39;homme par l&#39;homme. Leur strat&eacute;gie de mise &agrave; distance du r&eacute;el permet de regarder ce dernier plus intens&eacute;ment, avec bienveillance mais sans romantisme. Au-del&agrave; du tableau, peut-on habiter la peinture ? Notre habitat standardis&eacute; t&eacute;moigne-t-il d&#39;un art savant acc&eacute;dant enfin &agrave; la popularit&eacute; ? En nous proposant des cl&eacute;s de r&eacute;ponse, Heidi Wood enrichit &agrave; son tour l&#39;histoire culturelle des formes.</p><p>&nbsp;</p><p><strong>Diana Gay</strong>, 2013</p><p>Catalogue<em>&nbsp;D&eacute;cor d&rsquo;une vie ordinaire</em></p><p>&nbsp;</p><h5><a href=\"#_ftnref1\" name=\"_ftn1\">[1]</a> &nbsp;&nbsp;&nbsp;&nbsp; Guitemie Maldonado, &laquo;&nbsp;Chapitre 1 / Arch&eacute;ologie du terme&nbsp;&raquo; in Le cercle et l&#39;amibe. Le biomorphisme dans l&#39;art des ann&eacute;es 1930, Paris, INHA/CTHS (&laquo;&nbsp;Les Essais de l&#39;INHA&nbsp;&raquo;), 2006 [en ligne], mis en ligne le 7 d&eacute;cembre 2010, consult&eacute; le 10 ao&ucirc;t 2013, http://inha.revues.org/2876.</h5><h5><a href=\"#_ftnref2\" name=\"_ftn2\">[2]</a> &nbsp;&nbsp;&nbsp; Walter Benjamin, L&#39;oeuvre d&#39;art &agrave; l&#39;&eacute;poque de sa reproductibilit&eacute; technique, Paris, Allia, 2003.</h5><h5><a href=\"#_ftnref3\" name=\"_ftn3\">[3]</a> &nbsp;&nbsp;&nbsp; Fernand L&eacute;ger, &laquo;&nbsp;Le nouveau r&eacute;alisme continue&nbsp;&raquo;, Fonctions de la peinture, Paris, Gallimard coll. Folio Essais, 2009, p. 197.</h5><h5><a href=\"#_ftnref4\" name=\"_ftn4\">[4]</a> &nbsp;&nbsp;&nbsp; Fernand L&eacute;ger, &laquo;&nbsp;L&#39;esth&eacute;tique de la machine, l&#39;objet fabriqu&eacute;, l&#39;artisan et l&#39;artiste&raquo;, ibid, p. 88.</h5><h5><a href=\"#_ftnref5\" name=\"_ftn5\">[5]</a> &nbsp;&nbsp;&nbsp; Nicolas Bourriaud, Sarah Morris. Mechanical Ballet, catalogue num&eacute;rique de l&#39;exposition au mus&eacute;e national Fernand L&eacute;ger (17 novembre 2012-4 mars 2013), [en ligne], p. 5, consult&eacute; le 13 ao&ucirc;t 2013, <a href=\"http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf\">http://www.musees-nationaux-alpesmaritimes.fr/library/Sarah%20Morris/SarahMorris2MN2012BD.pdf</a></h5><p>&shy;</p>',	'PAINTING FOR THE MASSES?',	'DIANA GAY',	'PAINTING FOR THE MASSES? 2013',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'painting-for-the-masses-diana-gay-2013',	'painting-for-the-masses-diana-gay-2013',	'',	'',	'2018-10-19 17:31:58',	NULL,	'2018-10-19 17:31:58',	'2023-10-30 17:02:11',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1700',	0,	'doc_article',	'doc_article',	'',	0),
(1703,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-13 16:32:44',	'2018-10-13 16:32:44',	'<p>The twinning of cities in different countries first occured in the 1950&rsquo;s with the aim of encouraging cultural dialogue, thereby reducing the misunderstandings and antagonisms that had made possible two World Wars and all the others. Twinning is thus a project of fraternal utopia activated on a municipal level rather than at the level of the State, which is always suspected of nationalism and so-called &ldquo;higher interests&rdquo;. &nbsp; At the same time, late modernism found its purest formulations in American art criticism and abstract painting. There is a surprising correlation, at least historically speaking, between these two utopias, namely the dialogue among cultures and the affirmation of a nationally anchored modernist eschatology. &nbsp; Since then, the practice of twinning has lost in ambition what it has gained in administrative order and the formal vocabulary of pictorial modernism has been widely taken over by advertising, communications, graphics and design professionals. In Limay, Heidi Wood creates a parallel between these two heritages by twinning this small town in the Yvelines and that of Wheelers Hill, in the suburbs of Melbourne, Australia. The artist imagines tourist information centers for the two suburbs, complete with photographs, paintings and wall paintings. As in her work as a whole, the formal register used by Heidi Wood comes as much from geometric abstraction as from logos and visual communication, thus blurring the nature of what we are looking at. There is indeed a principle of transplant in most of the formal means used: oil paint on synthetic upholstery fabric, digital photography and graphics in diptychs, confrontation of two planes of color, coexistence of observational drawing and complex fictional economies&hellip; &nbsp; Suburbia, which is both the host and subject of this project, can be defined itself as a graft: fantasy union of urban and rural, dream of a new type of city, it also answers to fundamentally different representations in France, where it incarnates exclusion, and the Anglo-Saxon world, where it is a residential area. In both cases, it raises the question of image(s). Finally, let it be said that when a graft doesn&rsquo;t take, it is known as &ldquo;rejection&rdquo;. &nbsp; <strong>Karim Ghaddab</strong>, 2012 <em>Suburbias</em> catalogue &nbsp; &nbsp; <strong>ARTIST STATEMENT&nbsp;</strong> SUBURBIAS, Les R&eacute;servoirs, Limay March 9 &ndash; April 15 2012 &nbsp; When I was offered an exhibition at Les R&eacute;servoirs in the outer Parisian suburb of Limay, I planned to twin it with an equivalent suburb in another country. I hoped to explore the reality behind the wildly different public images of suburbia in France and in English speaking countries. &nbsp; In France the popular definition of &ldquo;la banlieue&rdquo; (suburbia) is reduced to its most volatile neighborhoods. Urban planners define 751 &ldquo;Sensitive Urban Zones&rdquo; in France. According to Wikipedia, these are characterized by a population suffering from high unemployment, low qualifications and low earning potential. The percentage of non-French people is twice as high as in the country as a whole. 60% of people live in (often poorly maintained, high density) public housing as against 20% elsewhere in France. Its residents numbered 4.4 million in 2006 (7% of the population). From 77.5 to 85% of the French population is urban, depending on sources. Suburbs that are not &ldquo;sensitive urban zones&rdquo; are thought of as cities or towns. Limay is listed as a sensitive urban zone. The French would call it a suburb. &nbsp; I grew up in Australian suburbia where the term evokes a calm, middle class existence in vast zones of single-family houses dotted with huge shopping centers. The public image of suburbia corresponded exactly to my experience of it. The equivalent of la banlieue would once have been &ldquo;inner west&rdquo;, also associated with a concentration of social problems, but most inner city areas have been gentrified these days. &nbsp; I began my search for a sister suburb for Limay by contacting friends who live in other countries. This is how I defined Limay: It is outer, outer suburbia (almost Normandy), a worker town built in the sixties with some high rise and a lot of individual houses. There are grazing cows alongside heavy industry. The municipality is run by communists. &nbsp; Their replies: <em>Comrade Heidi: The thought of communist mayors in the US made me giggle. I do not think it is possible for there to be any elected official in America who openly professed belief in communist theory or practice&hellip; We Americans love our bootstrap free-market capitalism with an ardency that borders on the fetishistic.&nbsp;It might be possible, with a little digging, to find communities where there is a thriving open or openly unofficial barter economy that just skirts the nuanced edges of a collective consciousness.&nbsp;But I would guess that the rhetoric would be libertarian (Live Free or Die being one of our founding mottoes) rather than communist or socialist.&nbsp;Now, maybe you need to think about compare/contrast in your sister suburbs project. I am sure you could find many US cities as robustly capitalist as your EU communists.</em> (<strong>KC Bitterman</strong>) &nbsp; <em>We don&#39;t have any communists here in Hong Kong. We have a benevolent dictatorship of real estate moguls organised by huge bureaucracy. (British + Chinese = serious love of bureaucracy). We hardly believe in helping neighbours, let alone community self-management.</em> (<strong>Tanya Hart</strong>) &nbsp; <em>In England the suburbs and communism are like chalk and cheese, you&#39;ll never find them together!&nbsp;In England suburbia and conservatism are what go hand in hand. If you want to know what people in English suburbs are thinking then you should read the Daily Mail ( <a href=\"http://www.dailymail.co.uk/\">www.dailymail.co.uk</a> ).</em> (<strong>Craig Dickson</strong>) &nbsp; Faced with the difficulty of finding an exact equivalent, I decided to choose a suburb that, like Limay, corresponded to a national definition of suburbia. I chose the one I know best: Wheelers Hill, 22 km south east of the center of Melbourne, where I lived from the age of 7 to 17. A recent visit showed it had become more prosperous and less peripheral than in the mid 1980&rsquo;s when I left. &nbsp; Interestingly, the municipal website for Monash that encompasses Wheelers Hill, gives the mobile phone numbers of councilors but not their political affiliation. When I called Monash council, the receptionist was not authorized to tell me which party the mayor belonged to. She put me through to a series of people who couldn&rsquo;t tell me or didn&rsquo;t know. The mayor herself answered my email to say membership of a political party at a municipal level is like membership of any other club &ndash; a personal affair. She belongs to the Labour Party. I rang Limay council and asked the same question. The immediate, one-word answer was: communist. &nbsp; I plan to use the two rooms of the exhibition space at Les R&eacute;servoirs like visitors&rsquo; centers for these two suburbs. I will explore the urban fabric and atmosphere of both in wall paintings, paintings and photographs. &nbsp; <strong>Heidi Wood</strong> January 2012</p>',	'<p>Le jumelage de villes de diff&eacute;rents pays appara&icirc;t dans les ann&eacute;es 1950, dans le but de favoriser le dialogue culturel et r&eacute;duire ainsi les incompr&eacute;hensions et les antagonismes qui avaient rendu possible les deux guerres mondiales et toutes les autres. Le jumelage est donc un projet de fraternit&eacute; utopique, activ&eacute; au niveau des communes, plut&ocirc;t qu&rsquo;&agrave; celui des &Eacute;tats, toujours suspects de nationalisme et d&rsquo;int&eacute;r&ecirc;ts dits sup&eacute;rieurs.</p><p>&nbsp;</p><p>Au m&ecirc;me moment, le modernisme tardif trouve ses formulations les plus pures dans la critique d&rsquo;art et la peinture abstraite am&eacute;ricaines. Il y aurait donc une surprenante correspondance, au moins historique, entre ces deux utopies que sont le dialogue entre les cultures et l&rsquo;affirmation d&rsquo;une eschatologie moderniste ancr&eacute;e nationalement.</p><p>&nbsp;</p><p>Depuis, la pratique du jumelage a perdu en ambition avant-gardiste ce qu&rsquo;elle a gagn&eacute; en fonctionnement administratif et le vocabulaire formel du modernisme pictural a &eacute;t&eacute; largement r&eacute;cup&eacute;r&eacute; par les professionnels de la publicit&eacute;, de la communication, du graphisme et du design. &Agrave; Limay, Heidi Wood met en relation ces deux h&eacute;ritages en proposant de jumeler cette petite ville des Yvelines et celle de Wheelers Hill, banlieue de Melbourne, en Australie. L&rsquo;artiste imagine les offices de tourisme des deux villes, orn&eacute;s de photographies, tableaux et peintures murales. Comme dans l&rsquo;ensemble de son travail, le registre formel utilis&eacute; par Heidi Wood tient autant de l&rsquo;abstraction g&eacute;om&eacute;trique que du logo et de la communication visuelle, troublant ainsi la nature de ce que l&rsquo;on est en train de regarder. La greffe est d&rsquo;ailleurs au principe de la plupart des proc&eacute;dures formelles utilis&eacute;es&nbsp;: peinture &agrave; l&rsquo;huile sur tissu d&rsquo;ameublement synth&eacute;tique, photographie et graphisme num&eacute;rique en diptyque, confrontations de deux couleurs en aplat, coexistence du dessin d&rsquo;observation et d&rsquo;&eacute;conomies fictives complexes&hellip;</p><p>&nbsp;</p><p>La banlieue, qui est &agrave; la fois le lieu et l&rsquo;objet de ce projet, se d&eacute;finit elle-m&ecirc;me comme greffon&nbsp;: fantasme d&rsquo;union de l&rsquo;urbain et du champ&ecirc;tre, r&ecirc;ve de ville nouvelle, elle r&eacute;pond &eacute;galement &agrave; des repr&eacute;sentations fondamentalement diff&eacute;rentes en France, o&ugrave; elle incarne l&rsquo;exclusion et la menace, et dans le monde anglo-saxon, o&ugrave; elle est une zone r&eacute;sidentielle. Dans les deux cas, ce sont des questions d&rsquo;image(s). Signalons enfin que lorsqu&rsquo;une greffe ne prend pas, on parle de &laquo;&nbsp;rejet&nbsp;&raquo;.</p><p>&nbsp;</p><p><strong>Karim Ghaddab</strong>, 2012</p><p>Catalogue <em>Banlieues</em></p><p>&nbsp;</p><p><strong>INTENTIONS</strong></p><p>BANLIEUES, Les R&eacute;servoirs, Limay</p><p>9 mars &ndash; 15 avril 2012</p><p>&nbsp;</p><p>Ma premi&egrave;re id&eacute;e, lorsque j&rsquo;ai re&ccedil;u la proposition de pr&eacute;senter une exposition aux R&eacute;servoirs &agrave; Limay, a &eacute;t&eacute; de jumeler cette ville de la lointaine banlieue parisienne avec son &eacute;quivalente dans un autre pays. J&rsquo;esp&eacute;rais explorer la r&eacute;alit&eacute; cach&eacute;e derri&egrave;re les perceptions radicalement diff&eacute;rentes de la banlieue en France et dans les pays anglophones.</p><p>&nbsp;</p><p>Quand les fran&ccedil;ais pensent &agrave; la banlieue ils imaginent uniquement ses quartiers les plus difficiles. Les urbanistes d&eacute;finissent 751 &laquo;&nbsp;zones urbaines sensibles&nbsp;&raquo; (ZUS) en France. D&rsquo;apr&egrave;s Wikip&eacute;dia, celles-ci se caract&eacute;risent par un taux de ch&ocirc;mage &eacute;lev&eacute;, une large proportion de personnes non dipl&ocirc;m&eacute;es et un faible potentiel fiscal. La proportion de personnes d&rsquo;origine &eacute;trang&egrave;re y est deux fois plus &eacute;lev&eacute;e que dans d&rsquo;autres agglom&eacute;rations et 60% des habitants des ZUS sont locataires de HLM contre 20% en moyenne ailleurs. Les Zusards &eacute;taient 4,4 million en 2006 (7% de la population). Entre 77,5 &agrave; 85% de la population fran&ccedil;aise est urbanis&eacute;e selon les sources. Les banlieues qui ne sont pas &laquo;&nbsp;sensibles&nbsp;&raquo; sont couramment appel&eacute;es &laquo;&nbsp;villes&nbsp;&raquo;. Limay est sur la liste de zones urbaines sensibles. Pour les fran&ccedil;ais, elle est donc une banlieue.</p><p>&nbsp;</p><p>J&rsquo;ai grandi en banlieue Australienne. Le terme suburbia &eacute;voque l&rsquo;existence calme de la classe moyenne dans de vastes zones pavillonnaires parsem&eacute;es de centres commerciaux &eacute;normes. Cet imaginaire correspond parfaitement &agrave; l&rsquo;exp&eacute;rience que j&rsquo;en ai faite. L&rsquo;&eacute;quivalent de la banlieue aurait &eacute;t&eacute; inner west (proche banlieue ouest), associ&eacute;e elle aussi &agrave; une concentration des maux sociaux, mais de nos jours ces quartiers se sont largement embourgeois&eacute;s.</p><p>&nbsp;</p><p>J&rsquo;ai commenc&eacute; mes recherches d&rsquo;une banlieue jum&egrave;le pour Limay en contactant des amis qui vivent &agrave; l&rsquo;&eacute;tranger. J&rsquo;ai d&eacute;finit Limay ainsi&nbsp;:</p><p>&nbsp;</p><p>C&rsquo;est une banlieue tr&egrave;s excentr&eacute;e (presqu&rsquo;en Normandie), une ville ouvri&egrave;re construite dans les ann&eacute;es 60 avec quelques grands ensembles et beaucoup de maisons individuelles. Les vaches broutent &agrave; proximit&eacute; de l&rsquo;industrie lourde. La municipalit&eacute; est communiste.</p><p>&nbsp;</p><p>Leurs r&eacute;ponses :</p><p><em>Camarade Heidi : L&rsquo;id&eacute;e de maires communistes aux Etats-Unis m&rsquo;a bien fait rigoler. Je ne pense pas que soit possible en Am&eacute;rique un &eacute;lu qui professe ouvertement des convictions communistes&hellip; Nous autres am&eacute;ricains aimons notre capitalisme ultra-lib&eacute;ral et hard-core avec une passion qui vire au f&eacute;tichisme. En creusant un peu, il serait peut-&ecirc;tre possible de trouver une communaut&eacute; florissante dot&eacute;e d&rsquo;une &eacute;conomie de troc plus ou moins clandestine, mais seuls les marges les plus nuanc&eacute;es de notre conscience collective peuvent y avoir acc&egrave;s. Mais j&rsquo;imagine que le rh&eacute;torique serait libertaire (Vivre libre ou mourir &eacute;tant un de nos devises fondateurs) plut&ocirc;t que communiste ou socialiste. Peut-&ecirc;tre pourrais-tu plut&ocirc;t comparer/contraster dans ton projet de jumelage de banlieues. Je suis convaincue que bien de villes aux US sont aussi profond&eacute;ment capitalistes que le sont tes communistes de l&rsquo;UE.</em></p><p>(<strong>KC Bitterman</strong>)</p><p>&nbsp;</p><p><em>Nous n&rsquo;avons pas de communistes ici &agrave; Hong Kong. Nous avons une dictature bienveillante de sp&eacute;culateurs immobiliers organis&eacute;s par une bureaucratie &eacute;norme (Grande Bretagne + Chine = grande passion pour la bureaucratie). Nous croyons &agrave; peine en l&rsquo;utilit&eacute; d&rsquo;aider notre prochain, sans parler d&rsquo;autogestion communautaire.</em></p><p>(<strong>Tanya Hart</strong>)</p><p>&nbsp;</p><p><em>En Angleterre, la banlieue et le communisme sont comme le jour et la nuit, tu ne les trouveras jamais ensemble&nbsp;! En Angleterre c&rsquo;est la banlieue et le conservatisme qui sont main dans la main. Si tu veux savoir &agrave; quoi pensent les gens qui habitent les banlieues anglaises, il faut lire the Daily Mail ( <a href=\"http://www.dailymail.co.uk/\">www.dailymail.co.uk</a> ).</em></p><p>(<strong>Craig Dickson</strong>)</p><p>&nbsp;</p><p>Face &agrave; la difficult&eacute; de trouver un &eacute;quivalent exact, j&rsquo;ai d&eacute;cid&eacute; de choisir une jumelle qui, comme Limay, corresponde &agrave; une d&eacute;finition nationale de banlieue. J&rsquo;ai choisi celle que je connais le mieux&nbsp;: Wheelers Hill, 22 km au sud est du centre de Melbourne o&ugrave; j&rsquo;ai v&eacute;cu de 7 &agrave; 17 ans. Une visite r&eacute;cente a r&eacute;v&eacute;l&eacute; qu&rsquo;elle est devenue plus prosp&egrave;re et moins p&eacute;riph&eacute;rique qu&rsquo;elle ne l&rsquo;a &eacute;t&eacute; au milieu des ann&eacute;es 80, quand je l&rsquo;ai quitt&eacute;e.</p><p>&nbsp;</p><p>Chose int&eacute;ressante&nbsp;: le site web de la municipalit&eacute; de Monash, qui englobe Wheelers Hill, donne les num&eacute;ros de portable de ses &eacute;lus mais ne mentionne pas leur couleur politique. Quand j&rsquo;ai appel&eacute; la municipalit&eacute;, la personne de l&rsquo;accueil n&rsquo;&eacute;tait pas autoris&eacute;e &agrave; d&eacute;voiler l&rsquo;appartenance politique de la maire. Elle m&rsquo;a transf&eacute;r&eacute;e &agrave; plusieurs agents municipaux qui ne pouvaient pas me le dire ou ne le savaient pas. La Maire elle-m&ecirc;me a r&eacute;pondu &agrave; mon mail pour expliquer que l&rsquo;appartenance &agrave; un parti politique &agrave; un niveau municipal, comme &ecirc;tre membre de n&rsquo;importe autre club, est une affaire personnelle. Pour sa part, elle est affili&eacute;e au parti travailliste. J&rsquo;ai appel&eacute; la mairie de Limay et pos&eacute; la m&ecirc;me question. La r&eacute;ponse imm&eacute;diate &eacute;tait&nbsp;: communiste.</p><p>&nbsp;</p><p>J&rsquo;envisage les deux salles d&rsquo;exposition aux R&eacute;servoirs comme deux syndicats d&rsquo;initiative pour ces deux banlieues. J&rsquo;explorerai le tissu urbain et l&rsquo;ambiance des deux dans une s&eacute;rie de tableaux, de peintures murales et de photographies.</p><p>&nbsp;</p><p><strong>Heidi Wood</strong></p><p>janvier 2012</p>',	'SUBURBIAS',	'KARIM GHADDAB',	'SUBURBIAS, 2012',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'suburbias-karim-ghaddab-2012',	'suburbias-karim-ghaddab-2012',	'',	'',	'2018-10-19 17:32:50',	NULL,	'2018-10-19 17:32:50',	'2023-10-30 17:02:34',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1703',	0,	'doc_article',	'doc_article',	'',	0),
(1706,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-12 16:41:55',	'2018-10-12 16:41:55',	'<p>The speed at which everyday objects are produced, manufactured, transformed and distributed is such that their equally ephemeral usage annihilates the very idea of the everyday and the familiar. Everything seems organized so that we do not have time to get near these objects and make them our own. Yet they express and represent us in that via our choices and uses they are no more than extensions of our bodies and emotions. If we pay the slightest attention to the things and objects that surround us, all, without exception, can be seen as the reverse side or negative of the forms of our bodies. Shoes, houses, can openers, clothes, bags, cars, chairs &ndash; all these things are our own shapes in reverse. Without idolizing consumer society &ndash; after all, these are things, not other subjects &ndash; we better understand our emotional investment in them when we realize that even the tiniest manipulation is ultimately an interaction with the society of human bodies that these objects represent, contain and reconstruct. They reconstitute us and they signify. The shapes, colors, textures, materials, sizes and weights of all these objects are not insignificant. They are, rather, a form of coded communication with users as well as a means of communication among them. This observation is banal and has been around for a long time. Nonetheless, few people question the rules and norms of this consumer society to the point that a considerable number of objects are often consumed economically without there being time to use them physically &ndash; mobile phones are the most common example of this. At best, there is still symbolic usage. At worst, it makes us into social actors who serve the economy, when the market should serve us. Hence, since the birth of industrialization we have progressively becomes objects for other individuals who see us as such. &nbsp; The magical, spellbinding, bewitching nature of commodities &ndash; what Marx called &ldquo;commodity fetishism&rdquo;, from the Portuguese word <em>feiti&ccedil;o,</em> meaning magic &ndash; can only work if we believe in it, like religion. And there is no shortage of commodity worshippers; there are millions of them. This is explained by the double nature of the value attributed to the object, having both a usage value and a symbolic value with the latter often outstripping the object&rsquo;s mercantile value. We are prepared to spend large sums for a family heirloom or a rare or unusual object. We have a propensity for a sort of &ldquo;psychic fetishism&rdquo; toward the object. We are connected to it by emotional over-investment. It also connects us to a whole network of human affective states, codes and signs that have been blurred, are almost imperceptible, but are still there, living on. One of the characteristics of Heidi Wood&rsquo;s work is to literally make visible the underlying structures, both esthetic and functional, of many of the codifications attached to objects, their contexts and their purposes. Her work not only reveals visual and significant situations that are often unnoticed due to disinterest or conditioning. It is above all transforming. The posters made for the exhibition <em>Winter Vacation</em> show objects and their uses in a different light, as if by opening them up and cutting them open to show elements, facets and aspects that would have remained hidden without the various operations undertaken. They signify in another way, but also something else, acquiring other visual, esthetic and artistic values. &nbsp; The transformation Heidi Wood inflicts upon them comes out of the objects themselves, as if by mutations, evolutions and developments &ndash; what visual communication jargon calls multiple spin-offs. Playing on ambivalences in the way the public receives advertisements, design objects, graphics and a whole range of signs, as well as ambivalences in the modes of production, design and manufacture of this vast system of codes, Heidi Wood does more than shift their signification and purpose. Ultimately, she resocializes an entire process of significations that originally would have consisted of desocializing, all to facilitate their circulation in the commodities system. In the end, the thousands of signs we read and interpret daily in the form of all types of objects &ndash; except those that are strictly informative &ndash; only serve to attract and focus attention on something else, which is usually the sale&hellip; of other objects. The billboards we find here and there in the street always possess, literally and figuratively, a double discourse: informative and mercantile. As if we could not signify, communicate and inform without immediately soliciting the viewer with an eye to the future sale of a given product. We deliberately omit the fact that not all communication has an alternative motive. It is not always manipulation. Suddenly, the street, avenue, square, church, house, roundabout, pharmacy, fire station or hospital can all become, or already are, commercial signs. Society as a whole becomes a hyper-logo, a sign of itself like a system of commodification that self-generates other signs and logos. &nbsp; If, based on the system of existing symbols, Heidi Wood repossesses, redraws, reconfigures and duplicates, we have to take her posters literally as symbols and symbolic, i.e. as two things that are joined or brought together (from the Greek <em>symbolon</em>, &ldquo;put together&rdquo;). In other words, a social connection is established between the person who imagines and produces the sign and those who perceive and interpret it. Given that a symbol only has meaning if it is understood and shared by a group, community or society, Heidi Wood&rsquo;s posters are highly symbolic visually, esthetically and artistically, but also symbolically in that they create recognizable signs among members of society, creating connections between people who recognize themselves as subjects rather than interchangeable objects. Always working with the specificity of place, Heidi Wood clearly uses a generic system of signs, fitting it into local peculiarities so that the works are significant to the users addressed. In this case, the users are inhabitants of Chevilly-Larue who should see themselves in and feel partly reflected by them. The negative or positive surprises, or even loathing that Heidi Wood&rsquo;s posters may spark are another way of creating connections with users of the urban landscape, not only in that they see their usual environment from another, surprising angle, but because they therefore understand that a different form of social participation is possible, that another way of seeing is viable, that another form of imagination can materialize in society. Public space is never a given that can be handled like any other tool. It is not something within arm&rsquo;s reach whose only value is utilitarian; that can be tossed out when it is deemed obsolete. In a manner that is as surreptitious as it is explicit and visible, Heidi Wood&rsquo;s works prove that public space is constantly constructed by those who make, use, think and shape society. The idea of shaping it should be taken as the form given to the space and the audience of this space &ndash; a space where signs and images weave connections rather than undermining the social fabric. &nbsp; <strong>Jacinto Lageira</strong>, 2011 <em>Vacances d&rsquo;hiver (Winter Vacation)</em> catalogue</p>',	'<p>La rapidit&eacute; &agrave; laquelle se produisent, se fabriquent, se transforment et se distribuent les objets quotidiens est telle que leur usage tout aussi &eacute;ph&eacute;m&egrave;re en vient &agrave; annihiler l&rsquo;id&eacute;e m&ecirc;me de quotidien, de familier, de proximit&eacute;, d&rsquo;appropriation. Tout semble organis&eacute; pour que nous ne puissions avoir le temps de faire r&eacute;ellement n&ocirc;tres des objets qui pourtant nous expriment et nous repr&eacute;sentent, puisqu&rsquo;&agrave; travers nos choix et nos utilisations ils ne sont que les prolongements de nos corps et de nos &eacute;motions. Si nous pr&ecirc;tons un tant soit peu d&rsquo;attention aux choses et objets qui nous entourent, ils apparaissent tous, sans exception, comme l&rsquo;envers ou le n&eacute;gatif de la forme de nos corps. Des chaussures, des maisons, des ouvres-bo&icirc;tes, des v&ecirc;tements, des sacs, des voitures, des chaises, tout cela est notre forme invers&eacute;e. Sans tomber dans l&rsquo;idol&acirc;trie de la soci&eacute;t&eacute; de consommation &ndash; ce sont apr&egrave;s tout des objets et non d&rsquo;autres sujets &ndash;, on comprend mieux l&rsquo;investissement affectif &agrave; leur &eacute;gard lorsque l&rsquo;on prend conscience que la moindre manipulation, de la plus l&eacute;g&egrave;re &agrave; la plus forte, est au final une interaction avec la soci&eacute;t&eacute; des corps humains que ces objets repr&eacute;sentent, reforment et recomposent. Ils nous refigurent, et ils signifient. Les formes, couleurs, textures, mat&eacute;riaux, tailles, poids de tous ces objets ne sont donc pas anodins, &eacute;tant bien plut&ocirc;t un mode de communication par codes avec les usagers et aussi un moyen de communication des usagers entre eux. Ce constat est banal et connu depuis longtemps. Il n&rsquo;en reste pas moins que peu de personnes remettent en question ladite soci&eacute;t&eacute; de consommation, ses r&egrave;gles et ses normes, au point qu&rsquo;un nombre consid&eacute;rable d&rsquo;objets est souvent consomm&eacute; &eacute;conomiquement sans que l&rsquo;on ait eu le temps d&rsquo;en faire usage physiquement &mdash; le cas des t&eacute;l&eacute;phones portables &eacute;tant l&rsquo;exemple le plus courant. Au mieux l&rsquo;usage demeure symbolique, au pire il fait de nous des acteurs sociaux au service de l&rsquo;&eacute;conomie, alors que c&rsquo;est le syst&egrave;me marchand qui devrait et doit &ecirc;tre &agrave; notre service. C&rsquo;est ainsi que depuis la naissance de l&rsquo;industrialisation nous sommes progressivement devenus des objets pour d&rsquo;autres individus qui nous consid&egrave;rent tels.</p><p>&nbsp;</p><p>Le caract&egrave;re magique, envo&ucirc;tant, ensorcelant de la marchandise &ndash; ce que Marx appelait le &laquo;&nbsp;f&eacute;tichisme de la marchandise &raquo;, du mot portugais <em>feiti&ccedil;o</em>, signifiant &laquo; magique &raquo; &ndash;, ne peut s&rsquo;activer et fonctionner que si l&rsquo;on y croit, comme en religion. Et les adorateurs de la marchandise ne manquent pas&nbsp;; ils se comptent par milliards. Cela s&rsquo;explique par le double caract&egrave;re de la valeur attribu&eacute;e &agrave; l&rsquo;objet, ayant &agrave; la fois une valeur d&rsquo;usage et une valeur symbolique, cette derni&egrave;re exc&eacute;dant parfois la valeur marchande de l&rsquo;objet &mdash; tel objet de famille, tel objet rare ou singulier pour lequel nous sommes pr&ecirc;ts &agrave; d&eacute;penser des sommes importantes. Nous avons donc une propension &agrave; une sorte de &laquo; f&eacute;tichisme psychique &raquo; relativement &agrave; l&rsquo;objet, un surinvestissement affectif qui nous lie &agrave; lui, mais &eacute;galement, par son entremise, &agrave; tout un r&eacute;seau d&rsquo;affects, de codes et de signes humains quelque peu estomp&eacute;s, quasiment imperceptibles, mais toujours pr&eacute;sents et continuant &agrave; vivre. L&rsquo;une des caract&eacute;ristiques du travail d&rsquo;Heidi Wood est de rendre litt&eacute;ralement visibles les structures sous-jacentes, esth&eacute;tiques autant que fonctionnelles, de nombres de codifications attach&eacute;es aux objets, &agrave; leurs contextes et destinations. Son travail n&rsquo;est pas seulement r&eacute;v&eacute;lateur de situations visuelles et signifiantes qui passent souvent inaper&ccedil;ues par d&eacute;sint&eacute;r&ecirc;t ou par conditionnement, il est surtout transformateur. Les affiches qu&rsquo;elle a r&eacute;alis&eacute;es pour l&rsquo;exposition <em>Vacances d&rsquo;hiver</em> montrent autrement les objets et leurs diff&eacute;rents usages comme en les ouvrant, les d&eacute;coupant, pr&eacute;sentant ainsi des &eacute;l&eacute;ments, des facettes, des aspects qui seraient rest&eacute;s occult&eacute;s sans les diverses op&eacute;rations effectu&eacute;es. Ils signifient alors autrement, mais aussi autre chose, acqu&eacute;rant d&rsquo;autres valeurs plastiques, esth&eacute;tiques et artistiques.</p><p>&nbsp;</p><p>La transformation que leur fait subir Heidi Wood se fait cependant &agrave; partir d&rsquo;eux-m&ecirc;mes, comme par mutations, &eacute;volutions, d&eacute;veloppements, ce que le jargon de la communication visuelle nomme des d&eacute;clinaisons graphiques. Jouant des ambivalences des modes de r&eacute;ception des publicit&eacute;s, du design, des graphismes, de toutes sortes de signes, et des ambivalences des modes de production, de conception et de r&eacute;alisation de ce vaste syst&egrave;me de codes, Heidi Wood fait plus que d&eacute;tourner leur signification et destination. En derni&egrave;re instance, elle resocialise tout un processus de significations qui aura consist&eacute; &agrave; l&rsquo;origine &agrave; d&eacute;socialiser pour mieux le faire circuler dans le syst&egrave;me de la marchandise. Car enfin, les milliers de signes que nous lisons et interpr&eacute;tons quotidiennement sous la forme d&rsquo;objets de toutes sortes &ndash; &agrave; l&rsquo;exception de ceux qui sont strictement informatifs &ndash; ne servent qu&rsquo;&agrave; attirer et &agrave; canaliser l&rsquo;attention sur tout autre chose qui est g&eacute;n&eacute;ralement la vente&hellip; d&rsquo;autres objets. Les panneaux que l&rsquo;on trouve ici et l&agrave; dans la rue poss&egrave;dent toujours, au sens propre et figur&eacute;, un double discours&nbsp;: informatif et mercantile. Comme si l&rsquo;on ne pouvait pas signifier, communiquer, informer sans aussit&ocirc;t vous solliciter en vue de la vente future de quelque produit. On omet sciemment le fait que toute communication n&rsquo;est pas int&eacute;ress&eacute;e et instrumentalisante. Du coup, la rue, l&rsquo;avenue, la place, l&rsquo;&eacute;glise, la maison, le rond-point, la pharmacie, la caserne de pompiers, l&rsquo;h&ocirc;pital, tout peut devenir ou est d&eacute;j&agrave; signe marchand, la soci&eacute;t&eacute; tout enti&egrave;re devenant un hyper-logo, un signe d&rsquo;elle-m&ecirc;me comme syst&egrave;me de marchandisation auto-productrice d&rsquo;autres signes et d&rsquo;autres logos.</p><p>&nbsp;</p><p>Si, partant d&rsquo;un syst&egrave;me de symboles existant, Heidi Wood reprend, redessine, reconfigure, duplique, il faut alors prendre &agrave; la rigueur le caract&egrave;re de symbole et de symbolique de ses affiches, &agrave; savoir deux &eacute;l&eacute;ments que l&rsquo;on joint, que l&rsquo;on r&eacute;unit (du grec <em>symbolon</em>, &laquo; mettre ensemble &raquo;), autrement dit, un lien social qui s&rsquo;&eacute;tablit entre celle ou celui qui imagine et produit le signe et celles et ceux qui le per&ccedil;oivent et l&rsquo;interpr&egrave;tent. Sachant qu&rsquo;un symbole n&rsquo;a de sens que s&rsquo;il est compris et partag&eacute; par un groupe, une communaut&eacute;, une soci&eacute;t&eacute;, les affiches d&rsquo;Heidi Wood sont alors hautement symboliques plastiquement, esth&eacute;tiquement et artistiquement, mais aussi symboliquement en tant qu&rsquo;ils cr&eacute;ent des signes de reconnaissances entre membres de la soci&eacute;t&eacute;, cr&eacute;ant v&eacute;ritablement des liens entre personnes qui se reconnaissent en tant que sujets et non comme objets interchangeables. Traitant toujours la sp&eacute;cificit&eacute; des lieux et des espaces, Heidi Wood a assur&eacute;ment recours &agrave; un syst&egrave;me g&eacute;n&eacute;rique de signes, lequel s&rsquo;ins&egrave;re toujours dans la singularit&eacute; du lieu de sorte que ces &oelig;uvres font litt&eacute;ralement signe aux utilisateurs, s&rsquo;adressent &agrave; eux, en l&rsquo;occurrence les Chevillais qui devraient se voir et se percevoir comme refl&eacute;t&eacute;s en partie par elles. Les surprises n&eacute;gatives ou positives que peuvent cr&eacute;er les affiches d&rsquo;Heidi Wood, voire la parfaite d&eacute;testation, sont une autre mani&egrave;re de cr&eacute;er des liens avec les utilisateurs du paysage urbain, et ce qu&rsquo;ils voient non seulement leur environnement habituel sous un autre angle et dans une perspective surprenante, mais en ce qu&rsquo;ils comprennent par l&agrave; m&ecirc;me qu&rsquo;une forme diff&eacute;rente de participation sociale est possible, qu&rsquo;une autre mani&egrave;re de percevoir est viable, qu&rsquo;un autre imaginaire en soci&eacute;t&eacute; peut se concr&eacute;tiser. L&rsquo;espace public n&rsquo;est jamais un donn&eacute; que l&rsquo;on manie comme n&rsquo;importe quel ustensile, un objet &agrave; port&eacute;e de main n&rsquo;ayant d&rsquo;autre valeur que celle de l&rsquo;utilitaire, et que l&rsquo;on met au rebut une fois d&eacute;cr&eacute;t&eacute;e son obsolescence. De mani&egrave;re subreptice tout autant qu&rsquo;explicite et visible, les &oelig;uvres d&rsquo;Heidi Wood d&eacute;montrent que l&rsquo;espace public est construit en permanence par celles et ceux qui le font, le pratiquent, le pensent, qui forment la soci&eacute;t&eacute;. L&rsquo;id&eacute;e de former &eacute;tant &agrave; prendre aussi comme la forme que l&rsquo;on donne &agrave; l&rsquo;espace et au public de cet espace, un espace o&ugrave; signes et images tissent pr&eacute;cis&eacute;ment des liens et ne d&eacute;font pas les formes sociales.</p><p>&nbsp;</p><p><strong>Jacinto Lageira</strong>, 2011</p><p>Catalogue <em>Vacances d&rsquo;hiver</em></p>',	'CONNECTED BY IMAGES',	'JACINTO LAGEIRA',	'CONNECTED BY IMAGES, 2011',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'connected-by-images-jacinto-lageira-2011',	'connected-by-images-jacinto-lageira-2011',	'',	'',	'2018-10-19 17:33:27',	NULL,	'2018-10-19 17:33:27',	'2023-10-30 17:08:01',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1706',	0,	'doc_article',	'doc_article',	'',	0),
(1709,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-11 16:45:28',	'2018-10-11 16:45:28',	'<p>The urban environment is like a Petri dish, a crucible in which to chart the enormous transformations that have taken place since the heyday of Western modernism in the early twentieth century. Travel to any major city, from Brussels to Bucharest and beyond, and one finds apartment blocks, government buildings, universities, all kinds of social infrastructure now encased in enormous banners or made over as large-scale billboards advertising watches, perfumes or glamour. Industrial zones that were threatened with obsolescence during the neoliberal 1990s, from port cities such as Gdansk or Hamburg to other manufacturing centres like Kaunas, have been reborn, raised from the dead amid globalised service economies and so-called creative industries to become tourist sites and fun parks of history. These sites then become triggers for consumption, designed to be photographed and replayed later through anecdote rather than experienced there-and-then. &nbsp; Art, or at least visual culture, plays a central role in this, as Heidi Wood&rsquo;s work suggests. The abstract imagery that has comprised her practice in recent years, including her current series, draws from the ways that state and private businesses distil a sense of their local environments through logos, visual sound bites and other snapshot souvenirs. Wood&rsquo;s symbols or &ldquo;pictograms&rdquo; mimic the monuments of modernist industry (cranes, factories, watchtowers), reducing these sites to schematic outlines in much the same way that postcards (or, for that matter, art biennales) tend to reduce a place to key locations or viewpoints for the appreciation of non-local audiences. Artists&rsquo; residencies &ndash; such as that held by Wood in Bremen from September to October 2009, and which has provided the foundations for the work in this exhibition &ndash; can be given a similar use-value, infiltrating &ldquo;local&rdquo; meaning into a &ldquo;foreign&rdquo; artistic practice which can then be disseminated elsewhere around the globe through an artist&rsquo;s subsequent shows. The &ldquo;local&rdquo; thereby becomes a mobilised souvenir of sorts as well, much like the blue plates popular in Germany and replicated by Wood here, commemorating a traveller&rsquo;s ventures into new terrain. &nbsp; The abstractions of Europe&rsquo;s avant-garde and neo-avant-garde movements &ndash; from Wassily Kandinsky or Albert Renger-Patzsch to Bernd and Hilla Becher&rsquo;s images of industry on the brink of decay from the 1960s &ndash; are now the lingua franca of contemporary consumer society. They provide the signposts for &ldquo;the local&rdquo; and &ldquo;the social&rdquo;, targeting us from hoardings on buildings, or posted to friends with a &ldquo;wish you were here&rdquo; glee, as they construct the parameters for contemporary subjectivity. Wood&rsquo;s own pictograms, blue plates and signposts are clearly shot through with a similar debt to &ldquo;corporatised&rdquo; creative industries. Yet, rather than a mere repetition of or capitulation to these constructions, Wood&rsquo;s practice can be better understood as an <em>over-identification</em> with them, an aesthetic of mimicry that underpins a significant strain of contemporary art as it seeks new ways of negotiating with neoliberalism. Much like the work of The Yes Men and RTMark today, or IRWIN before them, Wood&rsquo;s practice deliberately exaggerates the processes and appearances of neoliberal aesthetic regimes, opening up the fine line between criticism of that regime and complicity with it, or between an imposed and a sovereign subjectivity. It is in this opened &ldquo;between&rdquo; state that Heidi Wood&rsquo;s explorations of contemporary conditions and mnemonics of the present take place, ascribing to no particular political or cultural position other than one belonging to that all-too-rare commodity these days: a deliberate curiosity about the very position of culture, about the messages that it can provide and the people it can target, within neoliberal urban spheres. &nbsp; <strong>Anthony Gardner</strong>, 2009 <em>Partie de chasse (Open Season) c</em>atalogue&nbsp;<em>&nbsp;</em></p>',	'<p>L&rsquo;environnement urbain est comme une bo&icirc;te de Petri, un creuset permettant de retracer les profondes transformations survenues depuis le d&eacute;but du XXe si&egrave;cle et l&rsquo;apog&eacute;e du modernisme occidental. Partez pour n&rsquo;importe quelle grande ville, de Bruxelles &agrave; Bucarest et plus loin encore, et vous y trouverez immeubles d&rsquo;habitation, b&acirc;timents publics, universit&eacute;s et toutes sortes d&rsquo;infrastructures sociales d&eacute;sormais pris dans de gigantesques banni&egrave;res publicitaires ou convertis en panneaux d&rsquo;affichage surdimensionn&eacute;s vantant des montres, parfums ou autres produits de luxe. Les zones industrielles qui face au n&eacute;olib&eacute;ralisme des ann&eacute;es 1990 &eacute;taient en proie &agrave; l&rsquo;obsolescence &ndash; villes portuaires telles que Gdansk ou Hambourg et autres p&ocirc;les industriels tels que Kaunas &ndash; connaissent aujourd&rsquo;hui une seconde naissance, ressuscit&eacute;es au milieu d&#39;&eacute;conomies de services mondialis&eacute;es et d&rsquo;industries soi-disant cr&eacute;atives dans le but d&rsquo;en faire des sites touristiques ou des parcs d&rsquo;attractions historiques. Des lieux qui deviennent ensuite moteur de consommation, con&ccedil;us non plus pour &ecirc;tre appr&eacute;ci&eacute;s dans l&rsquo;instant, mais de sorte qu&rsquo;on les photographie pour se les rem&eacute;morer plus tard au travers d&rsquo;anecdotes.</p><p>&nbsp;</p><p>L&rsquo;art, ou du moins la culture visuelle, joue dans ce m&eacute;canisme un r&ocirc;le essentiel, comme le sugg&egrave;re le travail d&rsquo;Heidi Wood. Les images abstraites qui ont constitu&eacute; ces derni&egrave;res ann&eacute;es la base de sa pratique artistique, et notamment la s&eacute;rie sur laquelle elle travaille actuellement, puisent dans cette fa&ccedil;on qu&rsquo;ont les entreprises publiques et priv&eacute;es de laisser entrevoir un peu de leur environnement local &agrave; travers logos, accroches visuelles et autres photos-souvenirs. Les symboles ou &laquo; pictogrammes &raquo; d&#39;Heidi Wood imitent les monuments de l&rsquo;industrie moderne (grues, usines, miradors), les r&eacute;duisant &agrave; des formes sch&eacute;matiques tout comme les cartes postales (ou les biennales artistiques, d&rsquo;ailleurs) r&eacute;duisent un lieu &agrave; des emplacements-cl&eacute;s ou &agrave; des points de vue appel&eacute;s &agrave; &ecirc;tre appr&eacute;ci&eacute;s par un public non local. Les r&eacute;sidences d&rsquo;artistes &ndash; &agrave; l&rsquo;image de celle dont Wood a b&eacute;n&eacute;fici&eacute; &agrave; Br&egrave;me en septembre et octobre 2009 et qui a d&rsquo;ailleurs permis de poser les bases du travail pr&eacute;sent&eacute; dans cette exposition &ndash; peuvent se voir attribuer une valeur d&rsquo;usage &eacute;quivalente, dans la mesure o&ugrave; elles insufflent dans une pratique artistique &laquo; &eacute;trang&egrave;re &raquo; un sens &laquo; local &raquo;, que l&rsquo;artiste peut par la suite diss&eacute;miner dans le monde entier au gr&eacute; de ses expositions. De ce fait le &laquo; local &raquo; devient aussi un souvenir mobilis&eacute;, si l&rsquo;on peut dire, &agrave; l&lsquo;instar de ces assiettes bleues qui font fureur en Allemagne, et que Wood reproduit ici dans une comm&eacute;moration des p&eacute;riples d&rsquo;un voyageur en terrain inconnu.</p><p>&nbsp;</p><p>L&rsquo;abstraction caract&eacute;ristique des mouvements d&rsquo;avant-garde et de n&eacute;o-avant-garde europ&eacute;ens &ndash; de Wassily Kandinsky ou Albert Renger-Patzsch &agrave; Bernd et Hilla Becher et la vision qu&rsquo;ils nous offraient d&rsquo;une industrie au bord du d&eacute;clin dans les ann&eacute;es 1960 &ndash; constitue aujourd&rsquo;hui la lingua franca de la soci&eacute;t&eacute; de consommation contemporaine. C&rsquo;est cette abstraction qui permet de baliser &laquo; le local &raquo; et &laquo; le social &raquo;, qui fait de nous la cible des publicit&eacute;s affich&eacute;es sur les fa&ccedil;ades ou que l&rsquo;on poste avec ce petit mot jubilatoire &eacute;crit &agrave; un ami pour d&eacute;plorer son absence, &agrave; mesure que sont d&eacute;finis les param&egrave;tres de la subjectivit&eacute; contemporaine. Les pictogrammes, assiettes bleues et panneaux signal&eacute;tiques que r&eacute;alise Heidi Wood sont clairement empreints d&rsquo;une dette comparable envers les industries cr&eacute;atives &laquo; corporatis&eacute;es &raquo;. Pourtant, plut&ocirc;t qu&#39;une simple r&eacute;p&eacute;tition ou capitulation, il convient de consid&eacute;rer sa pratique davantage comme une sur-identification &agrave; ces constructions ; une esth&eacute;tique de l&rsquo;imitation qui sous-tend une tendance significative de l&rsquo;art contemporain dans sa qu&ecirc;te de nouveaux moyens de n&eacute;gociation avec le n&eacute;olib&eacute;ralisme. Le travail d&rsquo;Heidi Wood, tout comme celui des Yes Men ou de &reg;TMark ou m&ecirc;me du collectif IRWIN avant eux, exag&egrave;re de fa&ccedil;on d&eacute;lib&eacute;r&eacute;e les processus et aspects des r&eacute;gimes esth&eacute;tiques n&eacute;olib&eacute;raux, ce qui a pour effet d&rsquo;ouvrir une br&egrave;che dans la mince fronti&egrave;re qui s&eacute;pare la critique &agrave; l&rsquo;encontre d&rsquo;un r&eacute;gime et la complicit&eacute; que l&#39;on peut entretenir avec, ou qui distingue une subjectivit&eacute; impos&eacute;e d&rsquo;une subjectivit&eacute; souveraine. C&rsquo;est dans cette sorte d&#39;&laquo; entre-deux &raquo; ouvert que se situe l&rsquo;exploration des conditions contemporaines et de la mn&eacute;motechnique du pr&eacute;sent &agrave; laquelle s&rsquo;adonne Heidi Wood, et qui ne peut &ecirc;tre imput&eacute;e &agrave; aucun positionnement politique ou culturel particulier, si ce n&rsquo;est celui relevant de cette denr&eacute;e bien trop rare en ce jour : une curiosit&eacute; intentionnelle pour le v&eacute;ritable positionnement de la culture, pour les messages qu&rsquo;elle peut fournir et le public qu&rsquo;elle peut cibler, au sein des sph&egrave;res urbaines n&eacute;olib&eacute;rales.</p><p>&nbsp;</p><p><strong>Anthony Gardner</strong>, 2009</p><p>Catalogue <em>Partie de chasse</em><br>Traduit de l&#39;anglais par D. Suboticki</p>',	'OPEN SEASON',	'ANTHONY GARDNER',	'OPEN SEASON, 2009',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'open-season-anthony-gardner-2009',	'open-season-anthony-gardner-2009',	'',	'',	'2018-10-19 17:34:15',	NULL,	'2018-10-19 17:34:15',	'2023-10-30 19:23:49',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1709',	0,	'doc_article',	'doc_article',	'',	0),
(1715,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-10 16:55:04',	'2018-10-10 16:55:04',	'<p>Heidi Wood designates but does not communicate, even though she delivers signals that are almost signage. She offers the forms to us as she found them in this indistinct zone that brings together reality as representation and representation as reality. Taken from landscapes modified by the images that adopted them. She eliminates, she detaches, she extracts signs from the environment where they sluggishly drew attention to themselves, signaling above all an alliance or appearance. De-signating, she de-tects, de-limits, de-viates, de-signs. Draws. &nbsp; Drawing in the original sense of the word, to designate, &ldquo;tracing the outlines of something.&rdquo; Something visible or invisible, attainable or unreal, limpid or inexplicable. Opposites often united until drawing set them apart. Heidi Wood disconnects the sign from its referent, giving us signs striped of their meaning, extracted from the world and placed naked before their reproduction. Detached from the world we understand and its continuous good sense. &nbsp; Yet Heidi Wood does not seek to deconstruct, even though we would gladly see in her rigorous sketches and random maps the tools for designing infrastructure and cobbling together a superstructure. Instead, we sense an attempt to recompose and launch. For the form to go beyond the form and the sign to reveal the sign; in short that the esthetic revelation regenerates the semiotic anesthesia. After emptying out the evidence, to be able to trace the contours of something else. &nbsp; <em>&ldquo;Like dreams, drawing works toward separation, but as with dreams, its links with reality are not entirely broken.&rdquo;</em> Philippe-Alain MICHAUD &nbsp; <strong>Jacques Norigeon</strong> Catalogue <em>Carnet Sagace 20</em></p>',	'<p>Heidi Wood d&eacute;signe mais ne nous fait pas signe, quand bien m&ecirc;me nous d&eacute;livre-t-elle des formes signal&eacute;es, presque signal&eacute;tiques. Elle nous les tend telles qu&rsquo;elle les a pr&eacute;lev&eacute;es dans cette zone indistincte qui joint la r&eacute;alit&eacute; comme repr&eacute;sentation et la repr&eacute;sentation comme r&eacute;alit&eacute;. Tir&eacute;es de paysages refaits par les images qui les ont adopt&eacute;s. Elle &ocirc;te, elle d&eacute;tache, elle extrait les signes de l&rsquo;environnement o&ugrave; ils se signalaient mollement, signant avant tout une appartenance ou une apparence. D&eacute;-signant, elle d&eacute;-c&egrave;le, d&eacute;-toure, d&eacute;-voie. Dessine.</p><p>&nbsp;</p><p>Dessiner, soit d&egrave;s l&rsquo;origine du mot, d&eacute;signer, &laquo;&nbsp;tracer les contours de quelque chose&nbsp;&raquo;. Quelque chose de visible ou d&rsquo;invisible, de r&eacute;alisable ou d&rsquo;irr&eacute;el, de limpide ou d&rsquo;inexplicable. Contraires souvent unis jusqu&rsquo;&agrave; ce que le dessin les distingue. En l&rsquo;occurrence, Heidi Wood d&eacute;colle le signe et son r&eacute;f&eacute;rent, nous donnant des signes d&eacute;v&ecirc;tus de leur signification, d&eacute;duits du monde et d&eacute;pos&eacute;s nus devant sa reproduction. D&eacute;tach&eacute;s de l&rsquo;univers tout compris et de son bon sens continu.</p><p>&nbsp;</p><p>Pour autant, il ne s&rsquo;agit pas pour Heidi Wood de d&eacute;construire, m&ecirc;me si l&rsquo;on verrait bien dans les croquis redress&eacute;s et les plans aveugl&eacute;s des outils pour penser l&rsquo;infrastructure et bricoler la superstructure. On pressent plut&ocirc;t la tentation d&rsquo;une recomposition et d&rsquo;un d&eacute;ploiement. Que la forme d&eacute;passe la forme et le signe d&eacute;voile le signe, en somme que la r&eacute;v&eacute;lation esth&eacute;tique r&eacute;g&eacute;n&egrave;re l&rsquo;anesth&eacute;sie s&eacute;miotique. Apr&egrave;s avoir &eacute;vid&eacute; l&rsquo;&eacute;vidence, pouvoir tracer les contours de quelque chose d&rsquo;autre.</p><p>&nbsp;</p><p><em>&laquo;&nbsp;Comme le r&ecirc;ve, le dessin travaille &agrave; la s&eacute;paration, mais pas plus que ceux du r&ecirc;ve, ses liens avec la r&eacute;alit&eacute; ne sont enti&egrave;rement rompus&nbsp;&raquo;</em><br>Philippe-Alain MICHAUD</p><p>&nbsp;</p><p><strong>Jacques Norigeon</strong>, 2009<br>Catalogue <em>Carnet sagace 20</em></p>',	'THE CONTOURS OF SOMETHING',	'JACQUES NORIGEON',	'THE CONTOURS OF SOMETHING, 2009',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'the-contours-of-something-jacques-norigeon-2009',	'the-contours-of-something-jacques-norigeon-2009',	'',	'',	'2018-10-19 17:35:55',	NULL,	'2018-10-19 17:35:55',	'2023-10-30 19:24:08',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1715',	0,	'doc_article',	'doc_article',	'',	0),
(1719,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-09 17:00:15',	'2018-10-09 17:00:15',	'<p>In 1997, when I met Heidi Wood, she was undermining the forms of the male, conquering modernism that invades the visual sphere. Her polyptychs foreshadowed the recent developments in her work. I liked this manhandling of dominant ideologies tied to the foundations of painting and language. The equivalence she established between irregular verbs in English (system, rule, exception) and the invention of abstract forms evoking the bastardized versions of modernism filtered through the omnipresence of design and graphics already participated in the third level that Stephen Wright refers to; a sort of third path. &nbsp; A major turning point occurred in 2001 for the exhibition <em>Quotidien aid&eacute; (LES LOCATAIRES),&nbsp;</em>with the appearance of &ldquo;Serving Suggestions.&rdquo; Since then, she has worked on and questioned the complex, fragile, contradictory, futile, necessary, intimate, forced (etc.) relationships between the painting and its surroundings. This undertaking, which is very well analyzed by Philippe Coubetergues, goes through different stages. The painting is no longer alone. It is accompanied, presented, enhanced. A d&eacute;cor for a painting, a painting for a place, an ephemeral <em>mise en sc&egrave;ne</em> for a photograph or an exhibition&hellip; Bringing together marketing strategies and presentation, she mixes economic and decorative registers, levels of readings, building up layer upon layer upon layer. &nbsp; An essential question was already raised: where exactly is the artwork? From this moment on, Heidi&rsquo;s work is constructed on disorder. It is confused. By that I mean it occupies a disordered territory and it plays on confusion. Of genres and attitudes. Deliberately clouding the issue, she gives equal importance to the painting, its <em>mise en sc&egrave;ne</em>, its d&eacute;cor, the elements that accompany it, the photographic trace, etc. Her exhibitions play on these accumulations of different types of strata, undertaking a very disturbing (for the purist) de-hierarchizing of values. From here on, she devotes herself to an art of projects, an art of attitude. &nbsp; Gradually emerging from the comfortable domestic environment where she began her experimentation, she has confronted public spaces (the 10<sup>th</sup> arrondissement in Paris, Los Angeles, Budapest, etc.). A few excursions in storefront windows had already kicked off the process. Yet perhaps renewing with avant-garde concerns (for whom, as we know, social structures and forms were fundamentally linked by ideology) she decided to infiltrate reality using spam. &nbsp; Today, her interest focuses more specifically on the forms of the common vernacular of globalized visual culture. Playing on the powers of the image, she works between fiction and reality, precisely at the imperceptible border between the two. She operates at the heart of the symbolic. And the fundamental issue at stake is authenticity. &nbsp; <strong>Frank Lamy</strong><em>Heidi Wood,&nbsp;</em><em>&oelig;</em><em>uvres de 2001 &agrave; 2007&nbsp;</em>catalogue</p>',	'<p>En 1997, quand je rencontrai Heidi Wood, elle se livrait &agrave; un travail de sape des formes d&rsquo;un modernisme m&acirc;le et conqu&eacute;rant, envahissant la sph&egrave;re visuelle. Ses polyptiques annon&ccedil;aient les d&eacute;veloppements r&eacute;cents de son &oelig;uvre. J&rsquo;aimai cette mise en crise des id&eacute;ologies dominantes en l&rsquo;indexant sur des fondements picturo-linguistiques. Cette mise en &eacute;quivalence des verbes irr&eacute;guliers anglais (le syst&egrave;me, la r&egrave;gle, l&rsquo;exception) et l&rsquo;invention de formes abstraites &eacute;voquant des versions ab&acirc;tardies du modernisme filtr&eacute; &agrave; l&rsquo;aune du tout design, du tout graphique, participait d&eacute;j&agrave; de ce troisi&egrave;me degr&eacute; qu&rsquo;&eacute;voque Stephen Wright, une sorte de troisi&egrave;me voie.</p><p>&nbsp;</p><p>Un grand tournant s&rsquo;est op&eacute;r&eacute; en 2001, pour l&rsquo;exposition &laquo;&nbsp;quotidien aid&eacute; (LES LOCATAIRES)&nbsp;&raquo;, avec l&rsquo;apparition des &laquo;&nbsp;Serving Suggestions&nbsp;&raquo; (que l&rsquo;on pourrait traduire en fran&ccedil;ais par suggestion de pr&eacute;sentation). A partir de ce moment, elle travaille et questionne les relations complexes, fragiles, contradictoires, futiles, n&eacute;cessaires, intimes, forc&eacute;es&hellip; entre le tableau et son alentour. Cette r&eacute;flexion, fort bien analys&eacute;e par Philippe Coubetergues, passe par diff&eacute;rentes &eacute;tapes. Le tableau n&rsquo;est plus seul, il est accompagn&eacute;, pr&eacute;sent&eacute;, mis en valeur. Un d&eacute;cor pour un tableau, un tableau pour un lieu, une mise en sc&egrave;ne fugace pour une photographie, une exposition&hellip; Reliant monstration et strat&eacute;gie marketing, elle m&ecirc;le les registres &eacute;conomiques et d&eacute;coratifs, les niveaux de lectures, pelliculant un v&eacute;ritable mille feuille.</p><p>&nbsp;</p><p>Une question essentielle se posait d&eacute;j&agrave;&nbsp;: o&ugrave;, exactement, se situe l&rsquo;&oelig;uvre&nbsp;? D&egrave;s ce moment, le travail d&rsquo;Heidi se construit sur un trouble. Il est confus. Je veux dire par l&agrave; qu&rsquo;il occupe un terrain troubl&eacute; et qu&rsquo;il joue de la confusion. Des genres et des attitudes. Brouillant d&eacute;lib&eacute;r&eacute;ment les pistes, elle accorde autant d&rsquo;importance au tableau, sa mise en sc&egrave;ne, son d&eacute;cor, les &eacute;l&eacute;ments qui l&rsquo;accompagnent, la trace de sa mise en sc&egrave;ne, etc. Ses expositions jouent de ces accumulations de strates de natures diverses, proc&eacute;dant ainsi &agrave; une forte perturbante (pour le puriste) d&eacute;-hi&eacute;rarchisation des valeurs. D&egrave;s lors, c&rsquo;est &agrave; un art de projet, un art d&rsquo;attitude qu&rsquo;elle s&rsquo;adonne.</p><p>&nbsp;</p><p>Peu &agrave; peu sortant du confortable cadre domestique o&ugrave; elle a pu exp&eacute;rimenter et fonder sa r&eacute;flexion, elle se confronte &agrave; l&rsquo;espace public (Paris 10<sup>e</sup> arrondissement, Los Angeles, Budapest&hellip;). Quelques excursions dans des vitrines de magasins avaient d&eacute;j&agrave; amorc&eacute; le processus. Mais, renouant peut-&ecirc;tre avec les pr&eacute;occupations des avant-gardes (pour qui on le sait structures sociales et formes &eacute;taient fondamentalement li&eacute;es par l&rsquo;id&eacute;ologie) elle d&eacute;cide d&rsquo;infiltrer le r&eacute;&eacute;l &agrave; la mani&egrave;re d&rsquo;un spam.</p><p>&nbsp;</p><p>Aujourd&rsquo;hui, son attachement se porte plus pr&eacute;cis&eacute;ment aux formes vulgaires, vernaculaires de la culture visuelle mondialis&eacute;e. Jouant des pouvoirs de l&rsquo;image, elle &oelig;uvre entre fiction et r&eacute;alit&eacute;, pr&eacute;cis&eacute;ment &agrave; cet endroit l&agrave;, sur cette fronti&egrave;re indiscernable. Elle s&rsquo;installe au c&oelig;ur du symbolique. Et c&rsquo;est de l&rsquo;authenticit&eacute; dont il est fondamentalement question.</p><p>&nbsp;</p><p><strong>Frank Lamy</strong></p><p>Catalogue <em>Heidi Wood, &oelig;uvres de 2001 &agrave; 2007</em></p>',	'Works from 2001 to 2007, 2008',	'FRANK LAMY',	'WORKS FROM 2001 TO 2007, 2008',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'works-from-2001-to-2007-frank-lamy-2007',	'works-from-2001-to-2007-frank-lamy-2007',	'',	'',	'2018-10-19 17:36:35',	NULL,	'2018-10-19 17:36:35',	'2023-10-30 19:24:40',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1719',	0,	'doc_article',	'doc_article',	'',	0),
(1722,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-08 20:17:12',	'2018-10-08 20:17:12',	'<p>The service provided by <em>Heidi Wood</em> is a concept that has been refined over the years to consolidate into a completely original reference in the field of representation<a href=\"#_edn1\" name=\"_ednref1\">[1]</a>. It is a simple, efficient and reliable concept that in short consists of making images using motifs elaborated for and destined to be inscribed in a given environment<a href=\"#_edn2\" name=\"_ednref2\">[2]</a>. The service provided by <em>Heidi Wood</em> targets a wide audience because it concerns every person or situation, sponsor or spectator, liable to be confronted with the problematic controls and corruptions of the image in his/her real environment. More than a painting to be hung, the service provided by <em>Heidi Wood</em> is an image to defend; more than a result, it is a suggestion, a projection. In this sense, the service provided by <em>Heidi Wood</em> should be seen as an imminent ideal that is <em>Coming Soon</em>. &nbsp; <strong>Description of the service provided</strong><a href=\"#_edn3\" name=\"_ednref3\"><strong>[3]</strong></a> The <em>Coming Soon</em> service provided by <em>Heidi Wood</em> is a suggestion formulated in various modalities that change and come together to suit the case at hand: photography, installation, montage, arrangement, etc. However complete this formulation is, it can only be appreciated as a simulation, in anticipation<a href=\"#_edn4\" name=\"_ednref4\">[4]</a>. &nbsp; <strong>Description of the suggested service</strong><a href=\"#_edn5\" name=\"_ednref5\"><strong>[5]</strong></a> The service suggested by <em>Heidi Wood</em>&rsquo;s <em>Coming Soon</em> is an improvement of the visible, an enhancement of the setting using a graphic system for which the Heidi Wood brand is sole agent<a href=\"#_edn6\" name=\"_ednref6\">[6]</a>. The service offered includes the design and fabrication of motifs based on contextual data and their real or simulated, permanent or temporary inscription in this same context. &nbsp; <strong>Description of the product provided</strong> The product attached to the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> is a composed image or series of images that anticipates the suggested service<a href=\"#_edn7\" name=\"_ednref7\">[7]</a>. These images include motifs from <em>Heidi Wood</em>&rsquo;s graphic range. This anticipation is only one possible occurrence of the service. Other spin-offs from the project may accompany the images and their presentation<a href=\"#_edn8\" name=\"_ednref8\">[8]</a>. &nbsp; <strong>Product exclusivity and protection</strong> The <em>Coming Soon</em> service provided by <em>Heidi Wood</em> guarantees the exclusivity of the product in that each suggested attribution of the motif is original. Furthermore, once assigned to a given context, the motif is considered definitively allotted to this initial and unique usage<a href=\"#_edn9\" name=\"_ednref9\">[9]</a>. &nbsp; <strong>Patent and author&rsquo;s rights</strong> In essence and nature, the <em>Heidi Wood</em> brand as graphic line and original service is patented. It is also impossible to forge because it is embedded in the qualified context<a href=\"#_edn10\" name=\"_ednref10\">[10]</a>. Counterfeiting is out of the question due to the coded system of the motif, the secret of which is known only to <em>Heidi Wood</em>&rsquo;s design department. The author&rsquo;s rights inherent in the prescribed use of a motif are in no way transferable to other usages in other contexts<a href=\"#_edn11\" name=\"_ednref11\">[11]</a>. &nbsp; <strong>The target</strong> While in essence it concerns all audiences, the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> nonetheless targets people or situations, owners or managers of a given space who are concerned with the image projected by the architectural and decorative configuration of this space. More specifically, the <em>Coming Soon</em> service provided by <em>Heidi Wood</em> targets functional, modernist spaces, often impregnated with a formalist esthetic derived from 20<sup>th</sup> century abstract and geometric painting. The<em>&nbsp;Coming Soon</em> service provided by <em>Heidi Wood</em> tends to reveal this underlying inspiration, which is nonetheless decisive in terms of brand image. It aims to reaffirm this origin of the image while enhancing the prestige of its use<a href=\"#_edn12\" name=\"_ednref12\">[12]</a>. &nbsp; <strong>Advantages of the corporate concept</strong> The<em>&nbsp;Coming Soon</em> service provided by <em>Heidi Wood</em> enterprises presents original advantages over the competition already working in the decorative representation market. The attribution of a motif, far from being arbitrary, is directly linked here to the visual specificity of the context, making the motif efficient and perfectly practicable in terms of place enhancement and image affirmation. The motif is also determined in an implicit reference to the history of forms, thus ensuring its stylistic coherence<a href=\"#_edn13\" name=\"_ednref13\">[13]</a>. &nbsp; <strong>Market share</strong> The increasingly prosperous and expanding market for representation and its probable developments over the long term allow us to foresee steady growth for <em>Heidi Wood&nbsp;</em>enterprises. This will translate into an increased market share via a rise in the number of customers and the development of customer loyalty due to the many perceived needs in terms of image management<a href=\"#_edn14\" name=\"_ednref14\">[14]</a>. &nbsp; <strong>Range of motifs</strong><em>Heidi Wood</em>&rsquo;s catalogue already offers a wide range of generic motifs still available and adaptable to any situation<a href=\"#_edn15\" name=\"_ednref15\">[15]</a>. Furthermore, her design/construction service is regularly supplemented by new products that incorporate past and updated trends<a href=\"#_edn16\" name=\"_ednref16\">[16]</a>. &nbsp; &nbsp; <strong>Philippe Coubetergues</strong><em>Heidi Wood, oeuvres de 2001 &agrave; 2007&nbsp;</em>catalogue &nbsp;</p><h5><a href=\"#_ednref1\" name=\"_edn1\">[1]</a> As an artist, Heidi Wood presents herself as a service provider. She consciously positions her proposals within the reality of the market economy. Her business and communication models follow those of business. It is thus possible to describe and appreciate her work by deliberately positioning ourselves within this perspective.</h5><h5><a href=\"#_ednref2\" name=\"_edn2\">[2]</a> Heidi Wood&rsquo;s stance can be described as a fiction: that of a small business that designs and provides a service in line with identified needs for a targeted customer. This text plays the game of the simulation inferred by her work. In other words, the logic proclaimed by the work is pushed to its extreme by attempting to approach it via the real model she simulates. This article fits into the diegetic dimension of the artist&rsquo;s work. Like the artist&rsquo;s work, it should be taken as a proposal that supplements the fiction.</h5><h5><a href=\"#_ednref3\" name=\"_edn3\">[3]</a> The exercise is a test. The description of a business project requires rationalizing all aspects to justify its validity. Critical commentary, while it tends to applaud the coherence of the work as a whole, must likewise consider all aspects of the undertaking. Bringing together two types of text is thus plausible. The constraint lies mainly in vocabulary (service, department, product, clientele, etc.) and its connotations. There is a risk of becoming caricatured. Yet the metaphor lies precisely in this exaggeration. And in the footnotes where there is a reading on two levels, just as there is in Heidi Wood&rsquo;s work.</h5><h5><a href=\"#_ednref4\" name=\"_edn4\">[4]</a> These footnotes serve as a context (at least for the inner circle). By presenting themselves as a commentary on the article, they target the work indirectly.</h5><h5><a href=\"#_ednref5\" name=\"_edn5\">[5]</a> It becomes clear that Heidi Wood&rsquo;s work does not lend itself to analysis like traditional photography. It is not a statement of fact, a recording of things as they are but rather a suggestion for transformation, improvement and enhancement of this state of things. This suggestion is expressed by means of photography, most often associated with an incorporated or juxtaposed graphic motif.</h5><h5><a href=\"#_ednref6\" name=\"_edn6\">[6]</a> In a way, this suggestion can be seen as a traditional decorative proposal. The question remains of what is decorated and what is d&eacute;cor. The motif apparently takes the form of a painting made to fit a given setting. It plays the role of the decorative touch. Yet at the same time it highlights and condenses the underlying decorative nature of this setting. The hierarchy between setting and painting thus levels out. The milieu justifies the motif and vice versa. The setting decorates the painting as much as the painting decorates the setting. Neither the setting nor the painting is decorative. Only the relationship between the two.</h5><h5><a href=\"#_ednref7\" name=\"_edn7\">[7]</a> But all this is only a promise. A promise of a d&eacute;cor. The photograph, with or without motif, the wallpaper, the montage, the arrangement, all this is no more than simulacra. Nothing is really made. It is an image, a possible reflection of things. The artist faces a reality made up of a proposal grounded in what she sees but also in what she foresees. She gives her vision of things in the form of an anticipation that we have chosen to call <em>Coming Soon</em>.</h5><h5><a href=\"#_ednref8\" name=\"_edn8\">[8]</a> <em>Coming soon</em> is an expression used to announce an impending event. Heidi Wood takes it and integrates it into her work as a ready-made textual element. <em>Coming Soon</em> 2006 can be rightly interpreted as an announcement of an exhibition but also, in a shift of meaning, as a generic designation of Heidi Wood exhibitions.</h5><h5><a href=\"#_ednref9\" name=\"_edn9\">[9]</a> All artworks by Heidi Wood function in reference to communication models employed in the commercial domain. Her installations can be put together like displays in a department store, her images distributed as spam, her polyptych compositions presented as advertising billboards when the slogans themselves are not directly appropriated and reassigned. Starting with her first works, the artist has deliberately oriented her register of expression toward the communication vernacular. She is not interested in the announcement itself or even the specific codes that govern it but rather the announcement&rsquo;s impact. Heidi Wood works on the suggestive power of these types of visuals and the forms of idealization they lead us toward.</h5><h5><a href=\"#_ednref10\" name=\"_edn10\">[10]</a> One of the most efficient motors of this suggestion consists in orchestrating on the same level several heterogeneous elements, such as a photographic image, an abstract form or a slogan. In the traditional sense, it is a collage. Its evocative force lies in the hiatus, in the impression maintained of these elements being out of synch despite their proximity. But in so far as the collage takes on and quotes the conventional modalities of visual communication, the hiatus is interpreted and partially resolved in line with the most common modes of association: enhancement, designation, substitution, forecast, anticipation.</h5><h5><a href=\"#_ednref11\" name=\"_edn11\">[11]</a> By combining in this way iconic, textual, abstract, figurative, graphic or photographic data, in referring to geometric abstraction, its fall-out in our architectural and decorative environment, its diverse repercussions and reassignments in terms of design, logos and signage, by appropriating (through an amplification of the recycling phenomenon) these same communication codes while simulating the same eye-catching methods, Heidi Wood, faced with a given reality, makes an image in the same way she would paint a painting.</h5><h5><a href=\"#_ednref12\" name=\"_edn12\">[12]</a> All the ingredients of painting are brought together: composition, motif, reference, quotation, title&hellip; Except for the medium, which is clearly not that of traditional painting. Mediation here replaces the medium. How it is made manifest is insignificant. Heidi Wood&rsquo;s artworks can be regenerated and sometimes even updated in a range of media, like the visuals of our era. But in painting, what counts is not so much the material as how it is made. In the digital era, Heidi Wood&rsquo;s artworks stand for an almost insolent emancipation from materiality to highlight the factual methods of their design.</h5><h5><a href=\"#_ednref13\" name=\"_edn13\">[13]</a> Heidi Wood&rsquo;s work is carefully and proficiently made. Her undertaking generates projects, not end results. Yet as objects Heidi Wood&rsquo;s artwork-prototypes are perfectly finalized. In the pure respect of reworked visual phenomena, they take on the slick and definitive look that suits the expression of an ideal.</h5><h5><a href=\"#_ednref14\" name=\"_edn14\">[14]</a> This text and its commentary aim to define the main characteristics of an undertaking at a given time. They seek to reveal the characteristics shared by the artworks and to do so, describe them according to the logic of a system. It is no doubt the nature of the genre. The artwork, however, does not truly respect any system. It evolves over time. From the series <em>Serving Suggestion</em> in 2001 to the series <em>Authentic New Mexico</em> in 2007, several upheavals have occurred. The spam experiment for the Los Angeles series, for example, was no doubt particularly decisive in terms of the self-promotion aspect of the work.</h5><h5><a href=\"#_ednref15\" name=\"_edn15\">[15]</a> <em>Authentic New Mexico,&nbsp;</em>the most recent series to date, does not resemble the preceding series. The &ldquo;motif&rdquo; element is explicitly figurative for the first time. The figurine references and reformats a traditional art form. The Kachina doll embraces the Playmobil. This appropriation becomes a commentary on another that is less explicit yet present in the fake adobe style of contemporary architecture in Santa Fe. The association of photograph and motif is no longer a decorative proposal. It is rather an expression of amusement at the turn things take in the particular context of an urban environment that seems entirely devoted to tourism. The question is no longer whether the motif should be integrated into the environment. In a sense, it already is. The confrontation of the two is enough to reveal it implicitly.</h5><h5><a href=\"#_ednref16\" name=\"_edn16\">[16]</a> Quotation, loan and suggestion. Heidi Wood&rsquo;s work is grounded in these three directions. Quotation evokes the past, art history, the history of abstraction, the history of styles. Loan concerns modes of visual communication that currently prevail in our contemporary world, which is itself strongly marked by this history of forms. Suggestion looks at the formal potential of this environment as a setting. Each series, in its own way, expresses a certain updating of the utopias to which these forms once belonged. In Heidi Wood&rsquo;s work, there is a nostalgic, facetious and joyous taste for the image&rsquo;s capacity to promise us the illusion of a world that is always lighter, simpler and more authentic.</h5><p>&nbsp;</p>',	'<p>La prestation <em>Heidi Wood</em> rel&egrave;ve d&rsquo;un concept qui s&rsquo;est pr&eacute;cis&eacute; au fil des ann&eacute;es pour s&rsquo;affirmer en d&eacute;finitive comme une r&eacute;f&eacute;rence tout &agrave; fait originale dans le domaine de la repr&eacute;sentation<a href=\"#_edn1\" name=\"_ednref1\">[i]</a>. C&rsquo;est un concept simple, efficace et fiable qui consiste en quelques mots &agrave; faire image au moyen de motifs &eacute;labor&eacute;s et destin&eacute;s &agrave; s&rsquo;inscrire dans un environnement donn&eacute;<a href=\"#_edn2\" name=\"_ednref2\">[ii]</a>. La prestation <em>Heidi Wood</em> vise un public large puisqu&rsquo;elle int&eacute;resse toute personne ou instance, commanditaire ou spectatrice, susceptible d&rsquo;&ecirc;tre confront&eacute;e dans son environnement r&eacute;el ou virtuel, aux difficiles contr&ocirc;les et d&eacute;viations de l&rsquo;image. Plus qu&rsquo;un tableau &agrave; suspendre, la prestation <em>Heidi Wood</em> est une image &agrave; d&eacute;fendre&nbsp;; plus qu&rsquo;un r&eacute;sultat, c&rsquo;est une suggestion, une projection. En ce sens, la prestation <em>Heidi Wood</em> est &agrave; prendre comme id&eacute;al &agrave; venir, un <em>Coming Soon</em>.</p><p>&nbsp;</p><p><strong>Description de la prestation</strong><a href=\"#_edn3\" name=\"_ednref3\"><strong>[iii]</strong></a></p><p>La prestation <em>Coming Soon</em> d&rsquo;<em>Heidi Wood</em> consiste en une suggestion formul&eacute;e selon diff&eacute;rentes modalit&eacute;s qui varient et s&rsquo;associent selon les cas&nbsp;: photographie, installation, montage, arrangement, etc. Cette formulation aussi aboutie soit-elle, ne peut &ecirc;tre appr&eacute;ci&eacute;e qu&rsquo;en tant que simulation, &agrave; titre d&rsquo;anticipation<a href=\"#_edn4\" name=\"_ednref4\">[iv]</a>.</p><p>&nbsp;</p><p><strong>Description du service sugg&eacute;r&eacute;</strong><a href=\"#_edn5\" name=\"_ednref5\"><strong>[v]</strong></a></p><p>Le service sugg&eacute;r&eacute; par le <em>Coming Soon</em> d&rsquo;<em>Heidi Wood</em> consiste en une am&eacute;lioration du visible, un enjolivement du contexte, au moyen d&rsquo;un syst&egrave;me graphique dont la marque Heidi Wood est l&rsquo;unique d&eacute;positaire<a href=\"#_edn6\" name=\"_ednref6\">[vi]</a>. Le service propos&eacute; comprend la conception et la fabrication des motifs &agrave; partir des donn&eacute;es contextuelles, et leur inscription au sein de ce m&ecirc;me contexte, de fa&ccedil;on effective ou simul&eacute;e, permanente ou temporaire.</p><p>&nbsp;</p><p><strong>Description du produit fourni</strong></p><p>Le produit attach&eacute; &agrave; la prestation <em>Coming Soon</em> d&rsquo;<em>Heidi Wood</em> consiste en une image ou une s&eacute;rie d&rsquo;images compos&eacute;es qui anticipent sur le service sugg&eacute;r&eacute;<a href=\"#_edn7\" name=\"_ednref7\">[vii]</a>. Ces images incluent les motifs issus de la gamme graphique Heidi Wood. Cette anticipation n&rsquo;est qu&rsquo;une occurrence possible de la prestation. D&rsquo;autres produits d&eacute;riv&eacute;s du projet peuvent accompagner les images et leur pr&eacute;sentation<a href=\"#_edn8\" name=\"_ednref8\">[viii]</a>.</p><p>&nbsp;</p><p><strong>Exclusivit&eacute; et protection du produit&nbsp;</strong></p><p>La prestation <em>Coming Soon</em> d&rsquo;<em>Heidi Wood</em> garantie l&rsquo;exclusivit&eacute; du produit dans le sens ou chaque attribution sugg&eacute;r&eacute;e de motif est originale. Par ailleurs, une fois attribu&eacute; &agrave; un contexte donn&eacute;, le motif est consid&eacute;r&eacute; comme d&eacute;finitivement d&eacute;volu &agrave; cette premi&egrave;re et unique qualification<a href=\"#_edn9\" name=\"_ednref9\">[ix]</a>.</p><p>&nbsp;</p><p><strong>D&eacute;p&ocirc;t de la marque et droits d&rsquo;auteur&nbsp;</strong></p><p>Par essence et par nature, la marque <em>Heidi Wood&nbsp;</em>en tant que ligne graphique et prestation originales est d&eacute;pos&eacute;e. Elle est &eacute;galement infalsifiable puisque scell&eacute;e contre ou au sein du contexte qualifi&eacute;<a href=\"#_edn10\" name=\"_ednref10\">[x]</a>. Toute contrefa&ccedil;on est rendue impossible par le syst&egrave;me cod&eacute; du motif que le service de conception <em>Heidi Wood</em> est seul &agrave; conna&icirc;tre. Les droits d&rsquo;auteur inh&eacute;rents &agrave; l&rsquo;utilisation prescrite d&rsquo;un motif ne sont en aucun cas cessibles &agrave; d&rsquo;autres emplois dans d&rsquo;autres contextes<a href=\"#_edn11\" name=\"_ednref11\">[xi]</a>.</p><p>&nbsp;</p><p><strong>&nbsp;</strong><strong>La cible&nbsp;</strong></p><p>Si elle concerne par essence tous les publics, la prestation <em>Coming Soon</em> d&rsquo;<em>Heidi Wood</em> cible n&eacute;anmoins les personnes ou instances, propri&eacute;taires ou responsables d&rsquo;un espace donn&eacute;, et attach&eacute;es &agrave; l&rsquo;image qu&rsquo;affiche la configuration architecturale et d&eacute;corative de cet espace. Plus sp&eacute;cifiquement, la prestation <em>Coming Soon</em> d&rsquo;<em>Heidi Wood</em> vise les espaces fonctionnels modernistes, souvent impr&eacute;gn&eacute;s d&rsquo;une esth&eacute;tique formaliste, d&eacute;riv&eacute;e de la peinture abstraite et g&eacute;om&eacute;trique du 20<sup>&egrave;me</sup> si&egrave;cle. La prestation <em>Coming Soon</em> d&rsquo;<em>Heidi Wood</em> tend &agrave; r&eacute;v&eacute;ler cette inspiration sous-jacente et n&eacute;anmoins d&eacute;cisive en termes d&rsquo;image de marque. Elle vise &agrave; r&eacute;affirmer cette origine de l&rsquo;image tout en valorisant son recours<a href=\"#_edn12\" name=\"_ednref12\">[xii]</a>.</p><p>&nbsp;</p><p><strong>Les avantages li&eacute;s au concept d&rsquo;entreprise</strong></p><p>Le concept <em>Coming Soon</em> de l&rsquo;entreprise <em>Heidi Wood</em> pr&eacute;sente des avantages originaux par rapport &agrave; la concurrence d&eacute;j&agrave; pr&eacute;sente sur le march&eacute; de la repr&eacute;sentation &agrave; caract&egrave;re d&eacute;coratif. L&rsquo;attribution du motif, loin d&rsquo;&ecirc;tre arbitraire, est ici directement li&eacute;e &agrave; la plasticit&eacute; sp&eacute;cifique du contexte, ce qui rend ce motif efficient et parfaitement praticable en mati&egrave;re de valorisation du lieu et d&rsquo;affirmation d&rsquo;image. Le motif est par ailleurs d&eacute;termin&eacute; dans une r&eacute;f&eacute;rence implicite &agrave; l&rsquo;histoire des formes, ce qui assure &agrave; la proposition sa coh&eacute;rence stylistique<a href=\"#_edn13\" name=\"_ednref13\">[xiii]</a>.</p><p>&nbsp;</p><p><strong>La part de march&eacute;</strong></p><p>L&rsquo;&eacute;volution du march&eacute; &ndash; plus que jamais prosp&egrave;re - de la repr&eacute;sentation et ses mutations probables &agrave; longue &eacute;ch&eacute;ance, permet d&rsquo;envisager une croissance r&eacute;guli&egrave;re de l&rsquo;entreprise <em>Heidi Wood</em>. Cela se traduira par une augmentation de la part de march&eacute; d&eacute;tenue actuellement, ceci par effet de fid&eacute;lisation et d&rsquo;accroissement progressif de la client&egrave;le, compte-tenu des multiples besoins ressentis en termes de gestion d&rsquo;image<a href=\"#_edn14\" name=\"_ednref14\">[xiv]</a>.</p><p>&nbsp;</p><p><strong>Gamme de motifs</strong></p><p>Le catalogue <em>Heidi Wood</em> offre d&rsquo;ores et d&eacute;j&agrave; une gamme &eacute;largie de motifs g&eacute;n&eacute;riques encore disponibles et adaptables &agrave; toute situation<a href=\"#_edn15\" name=\"_ednref15\">[xv]</a>. Par ailleurs, son service de conception / confection l&rsquo;augmente r&eacute;guli&egrave;rement de nouveaut&eacute;s qui tiennent compte des tendances pass&eacute;es et r&eacute;actualis&eacute;es<a href=\"#_edn16\" name=\"_ednref16\">[xvi]</a>.</p><p>&nbsp;</p><p>&nbsp;</p><p><strong>Philippe Coubetergues</strong></p><p>catalogue <em>Heidi Wood, oeuvres de 2001 &agrave; 2007&nbsp;</em></p><p>&nbsp;</p><h5><a href=\"#_ednref1\" name=\"_edn1\">[i]</a> En tant qu&rsquo;artiste, Heidi Wood se pr&eacute;sente comme un prestataire de service. Elle situe volontairement ses propositions dans une r&eacute;alit&eacute; &eacute;conomique de march&eacute;. Ses mod&egrave;les de fonctionnement et de communication sont calqu&eacute;s sur ceux de l&rsquo;entreprise. D&eacute;s lors, il devient possible de d&eacute;crire et appr&eacute;cier son travail en se pla&ccedil;ant d&eacute;lib&eacute;r&eacute;ment de ce c&ocirc;t&eacute;.</h5><h5><a href=\"#_ednref2\" name=\"_edn2\">[ii]</a> La feinte d&rsquo;Heidi Wood peut &ecirc;tre d&eacute;crite comme une fiction&nbsp;: celle d&rsquo;une petite entreprise qui con&ccedil;oit et fournit un service en fonction d&rsquo;un besoin rep&eacute;r&eacute; chez une client&egrave;le cibl&eacute;e. Le principe retenu par ce texte, consiste &agrave; jouer le jeu de la simulation induite par l&rsquo;&oelig;uvre. En d&rsquo;autres termes, il s&rsquo;agit de pousser &agrave; son paroxysme la logique affich&eacute;e de l&rsquo;&oelig;uvre, en tentant de l&rsquo;aborder comme le v&eacute;ritable mod&egrave;le qu&rsquo;elle simule. Ce texte s&rsquo;inscrit donc dans la dimension di&eacute;g&eacute;tique de l&rsquo;&oelig;uvre. Au m&ecirc;me titre que l&rsquo;&oelig;uvre, il faut le prendre comme une proposition suppl&eacute;mentaire &agrave; la fiction.</h5><h5><a href=\"#_ednref3\" name=\"_edn3\">[iii]</a> L&rsquo;exercice a valeur de test. La description d&rsquo;un projet d&rsquo;entreprise exige de rationaliser tous les aspects de son fonctionnement pour justifier de sa validit&eacute;. Le commentaire critique lorsqu&rsquo;il tend &agrave; valoriser la coh&eacute;rence de l&rsquo;&oelig;uvre, se doit &eacute;galement de prendre en compte tous les aspects de la d&eacute;marche. Le rapprochement entre les deux types de texte est donc plausible. La contrainte tient principalement au vocabulaire (prestation, service, produit, client&egrave;le, etc.) et &agrave; ses connotations. Le risque encouru est celui de la caricature. Mais c&rsquo;est pr&eacute;cis&eacute;ment au caract&egrave;re forc&eacute; du trait que tient la m&eacute;taphore. Et sur le contexte que repose une lecture au deuxi&egrave;me degr&eacute;, &agrave; l&rsquo;instar des &oelig;uvres d&rsquo;Heidi Wood.</h5><h5><a href=\"#_ednref4\" name=\"_edn4\">[iv]</a> Ces notes de bas de page font donc office de contexte (au moins pour un premier cercle). En se pr&eacute;sentant comme un commentaire sur le texte, elles visent indirectement l&rsquo;&oelig;uvre.</h5><h5><a href=\"#_ednref5\" name=\"_edn5\">[v]</a> L&rsquo;&oelig;uvre d&rsquo;Heidi Wood, on l&rsquo;aura compris, ne se pr&ecirc;te pas &agrave; l&rsquo;analyse comme le ferait une &oelig;uvre photographique classique. Ce n&rsquo;est pas un constat, un enregistrement des choses en l&rsquo;&eacute;tat mais plut&ocirc;t une suggestion de transformation, d&rsquo;am&eacute;lioration, de valorisation de cet &eacute;tat des choses. Cette suggestion s&rsquo;exprime au moyen de la photographie le plus souvent associ&eacute;e &agrave; un motif graphique inclus ou juxtapos&eacute;.</h5><h5><a href=\"#_ednref6\" name=\"_edn6\">[vi]</a> Dans un sens, cette suggestion peut &ecirc;tre vue comme une proposition d&eacute;corative classique. La question reste de savoir ce qui est d&eacute;cor&eacute; et ce qui fait d&eacute;cor. Le motif apparemment tient lieu de tableau con&ccedil;u pour le cadre de r&eacute;f&eacute;rence. Il joue le r&ocirc;le de la touche d&eacute;corative. Mais en m&ecirc;me temps, il d&eacute;signe et condense le caract&egrave;re d&eacute;coratif sous-jacent de ce cadre. Le rapport d&rsquo;indexation entre le cadre et le tableau s&rsquo;&eacute;quilibre alors. Le milieu justifie le motif et inversement. Le cadre d&eacute;core le tableau autant que le tableau d&eacute;core le cadre. Le cadre pas plus que le tableau n&rsquo;est d&eacute;coratif. L&rsquo;est seulement le rapport entre les deux.</h5><h5><a href=\"#_ednref7\" name=\"_edn7\">[vii]</a> Mais tout cela n&rsquo;est qu&rsquo;une promesse. Une promesse de d&eacute;cor. La photographie, le motif inclus ou non, le papier peint, le montage, l&rsquo;arrangement, tout ceci n&rsquo;est qu&rsquo;un simulacre. Rien n&rsquo;est fait r&eacute;ellement. C&rsquo;est une image, un reflet possible des choses. L&rsquo;artiste face &agrave; une r&eacute;alit&eacute; fait une proposition qui s&rsquo;attache &agrave; ce qu&rsquo;elle voit mais &eacute;galement &agrave; ce qu&rsquo;elle pr&eacute;voit. Elle donne sa vision des choses sous la forme d&rsquo;une anticipation que l&rsquo;on a choisi de nommer ici <em>Coming Soon</em>.</h5><h5><a href=\"#_ednref8\" name=\"_edn8\">[viii]</a> <em>Coming soon</em> est l&rsquo;expression anglo-saxonne que l&rsquo;on utilise pour annoncer la venue prochaine d&rsquo;un &eacute;v&egrave;nement. Heidi Wood la reprend et l&rsquo;int&egrave;gre &agrave; son travail en tant qu&rsquo;&eacute;l&eacute;ment textuel ready-made. <em>Coming soon</em> 2006 peut &ecirc;tre interpr&eacute;t&eacute; &agrave; juste titre comme l&rsquo;annonce d&rsquo;une exposition mais &eacute;galement par glissement comme la d&eacute;signation g&eacute;n&eacute;rique des expositions d&rsquo;Heidi Wood.</h5><h5><a href=\"#_ednref9\" name=\"_edn9\">[ix]</a> A l&rsquo;instar de cette expression, toute l&rsquo;&oelig;uvre d&rsquo;Heidi Wood fonctionne en r&eacute;f&eacute;rence &agrave; des mod&egrave;les de communication employ&eacute;s dans le domaine commercial. Ses installations peuvent &ecirc;tre agenc&eacute;es comme des corners de grand magasin, ses &oelig;uvres diffus&eacute;es sous forme de spam, ses compositions polyptiques se pr&eacute;sentent comme des panneaux publicitaires quand ce ne sont pas les slogans eux-m&ecirc;mes qui sont directement repris et d&eacute;tourn&eacute;s. Depuis ses premi&egrave;res &oelig;uvres, l&rsquo;artiste oriente d&eacute;lib&eacute;r&eacute;ment son registre d&rsquo;expression sur le mode de la communication. Ce qui l&rsquo;int&eacute;resse ce n&rsquo;est pas l&rsquo;annonce elle-m&ecirc;me ni m&ecirc;me ses codes sp&eacute;cifiques qui la r&eacute;gissent mais plut&ocirc;t l&rsquo;effet d&rsquo;annonce. Heidi Wood travaille sur la puissance suggestive de ce type de visuels et les formes d&rsquo;id&eacute;alisation vers lesquelles ils nous entra&icirc;nent.</h5><h5><a href=\"#_ednref10\" name=\"_edn10\">[x]</a> L&rsquo;un des moteurs les plus efficaces de cette suggestion consiste &agrave; faire jouer sur un m&ecirc;me plan plusieurs &eacute;l&eacute;ments h&eacute;t&eacute;rog&egrave;nes, tels qu&rsquo;une image photographique, un motif abstrait ou un slogan. Au sens traditionnel, c&rsquo;est un collage. Sa force d&rsquo;&eacute;vocation repose sur le hiatus, le d&eacute;calage qui se maintient entre ces &eacute;l&eacute;ments malgr&eacute; leur rapprochement. Mais dans la mesure o&ugrave; le collage reprend et cite les modalit&eacute;s convenues de la communication visuelle, le hiatus est interpr&eacute;t&eacute; et partiellement r&eacute;solu selon les modes associatifs les plus courants&nbsp;: valorisation, d&eacute;signation, substitution, pr&eacute;vision, anticipation.</h5><h5><a href=\"#_ednref11\" name=\"_edn11\">[xi]</a> En combinant ainsi des donn&eacute;es iconiques, textuelles, abstraites, figuratives, graphiques et photographiques, en se r&eacute;f&eacute;rant &agrave; l&rsquo;abstraction g&eacute;om&eacute;trique, ses r&eacute;percussions sur notre environnement architectural et d&eacute;coratif, ses diverses r&eacute;cup&eacute;rations et d&eacute;tournements en mati&egrave;re de design, de logo et de signal&eacute;tique, en s&rsquo;appropriant (par un d&eacute;tournement au second degr&eacute;) ces m&ecirc;mes codes de communication tout en simulant les m&ecirc;mes modalit&eacute;s d&rsquo;accroche, Heidi Wood face &agrave; une r&eacute;alit&eacute; donn&eacute;e fait image, comme elle peindrait un tableau.</h5><h5><a href=\"#_ednref12\" name=\"_edn12\">[xii]</a> Tous les ingr&eacute;dients de la peinture y sont&nbsp;r&eacute;unis : composition, motif, r&eacute;f&eacute;rence, citation, titre&hellip; A l&rsquo;exception du m&eacute;dium certes qui n&rsquo;est pas celui de la peinture traditionnelle. La m&eacute;diation s&rsquo;est ici substitu&eacute;e au m&eacute;dium. La mat&eacute;rialit&eacute; est insignifiante, les &oelig;uvres d&rsquo;Heidi Wood sont r&eacute;g&eacute;n&eacute;rables, et parfois m&ecirc;me actualis&eacute;es selon des mat&eacute;rialit&eacute;s diverses, &agrave; l&rsquo;instar des visuels de notre temps. Mais dans la peinture ce qui compte, ce n&rsquo;est pas tant la mati&egrave;re que la facture. A l&rsquo;heure du num&eacute;rique, les &oelig;uvres d&rsquo;Heidi Wood affichent une &eacute;mancipation presque insolente de la mat&eacute;rialit&eacute; pour mieux mettre en valeur ses modalit&eacute;s factuelles de conception.</h5><h5><a href=\"#_ednref13\" name=\"_edn13\">[xiii]</a> Cependant le travail d&rsquo;Heidi Wood passe par des actualisations r&eacute;elles particuli&egrave;rement soign&eacute;es et abouties. En termes de d&eacute;marche, l&rsquo;&oelig;uvre s&rsquo;affirme en tant que projet. Mais en termes d&rsquo;objet, les &oelig;uvres d&rsquo;Heidi Wood sont parfaitement finalis&eacute;es. Dans le pur respect des ph&eacute;nom&egrave;nes plastiques d&eacute;tourn&eacute;s, elles affichent le caract&egrave;re glac&eacute; et d&eacute;finitif qui convient &agrave; l&rsquo;expression d&rsquo;un id&eacute;al.</h5><h5><a href=\"#_ednref14\" name=\"_edn14\">[xiv]</a> Ce texte comment&eacute; comme ce commentaire de texte, tendent &agrave; d&eacute;finir les grandes lignes d&rsquo;une d&eacute;marche &agrave; un instant donn&eacute;. Ils cherchent &agrave; faire appara&icirc;tre les caract&egrave;res communs des &oelig;uvres, et pour ce faire, les d&eacute;crit selon la logique d&rsquo;un syst&egrave;me. C&rsquo;est sans doute la loi du genre. L&rsquo;&oelig;uvre cependant ne respecte r&eacute;ellement aucun syst&egrave;me. Elle &eacute;volue au fil du temps. Depuis la s&eacute;rie des <em>Serving Suggestion</em> de 2001, jusqu&rsquo;&agrave; la s&eacute;rie <em>Authentic New Mexico</em> de 2007, plusieurs bouleversements sont apparus. L&rsquo;exp&eacute;rience des spams de la s&eacute;rie <em>Los Angeles</em>, par exemple, fut sans doute particuli&egrave;rement marquante et d&eacute;cisive pour ce qui concerne la dimension d&rsquo;autopromotion de l&rsquo;&oelig;uvre.</h5><h5><a href=\"#_ednref15\" name=\"_edn15\">[xv]</a> <em>Authentic New Mexico,&nbsp;</em>la s&eacute;rie la plus r&eacute;cente &agrave; ce jour, ne ressemble pas aux s&eacute;ries pr&eacute;c&eacute;dentes. La partie &laquo;&nbsp;motif&nbsp;&raquo; pour la premi&egrave;re fois est explicitement figurative. La figurine cite et d&eacute;tourne un art traditionnel. La poup&eacute;e Kachina tire vers le play-mobil. Cette d&eacute;viation fait commentaire sur une autre moins explicite et n&eacute;anmoins pr&eacute;sente dans le faux style en adobe qu&rsquo;arbore l&rsquo;architecture contemporaine de Santa Fe. L&rsquo;association de la photographie et du motif n&rsquo;est plus r&eacute;ellement une proposition d&eacute;corative. C&rsquo;est plut&ocirc;t l&rsquo;expression d&rsquo;un regard amus&eacute; sur la tournure que prennent les choses dans le contexte particulier d&rsquo;un environnement urbain - semble-t-il - enti&egrave;rement d&eacute;di&eacute; au tourisme. La question n&rsquo;est plus de savoir si le motif doit &ecirc;tre int&eacute;gr&eacute; dans l&rsquo;environnement. D&rsquo;une certaine fa&ccedil;on, c&rsquo;est d&eacute;j&agrave; fait. La confrontation des deux suffit &agrave; le r&eacute;v&eacute;ler implicitement.</h5><h5><a href=\"#_ednref16\" name=\"_edn16\">[xvi]</a> Citation, emprunt et suggestion. L&rsquo;&oelig;uvre d&rsquo;Heidi Wood se fonde sur ces trois axes. La citation renvoie au pass&eacute;, &agrave; l&rsquo;histoire de l&rsquo;art, &agrave; l&rsquo;histoire de l&rsquo;abstraction, &agrave; l&rsquo;histoire des styles. L&rsquo;emprunt porte sur les modes de communication visuelle qui pr&eacute;valent actuellement dans le monde contemporain, lui-m&ecirc;me tr&egrave;s marqu&eacute; par cette histoire des formes. La suggestion enfin se tourne vers le devenir formel de cet environnement en tant que d&eacute;cor. Chaque s&eacute;rie exprime &agrave; sa fa&ccedil;on une certaine r&eacute;actualisation des utopies auxquelles ces formes &eacute;taient attach&eacute;es. Il y a dans le travail d&rsquo;Heidi Wood un go&ucirc;t &agrave; la fois nostalgique, fac&eacute;tieux et r&eacute;joui pour les capacit&eacute;s illusoires de l&rsquo;image &agrave; nous promettre un monde toujours plus clair, plus simple, plus authentique.</h5>',	'Heidi Wood: a Coming Soon service provider',	'PHILIPPE COUBETERGUES',	'WORKS FROM 2001 TO 2007, 2008',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'works-from-2001-to-2007-philippe-coubetergues-2007',	'works-from-2001-to-2007-philippe-coubetergues-2007',	'',	'',	'2018-10-19 17:39:34',	NULL,	'2018-10-19 17:39:34',	'2023-10-30 19:25:23',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1722',	0,	'doc_article',	'doc_article',	'',	0),
(1725,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-08 17:26:57',	'2018-10-08 17:26:57',	'<p>HEIDI WOOD in the 10<sup>th</sup> arrondissement, Paris April 19 to May 10 2006 &nbsp; There are at least two ways of apprehending an artist&rsquo;s work. The first consists of looking at what she did and asking what it is, as profoundly and comprehensively as possible, in going well beyond appearances (which as everyone knows are often misleading when art is concerned). The second consists of doing the opposite and asking how it is made, which approach, intuition or intention is behind it, in going well beyond platitudes (which are easy to recognize &ndash; they are often the first things that come to mind). In this back and forth movement, we may well encounter a work of art. It is an exercise that requires a little concentration and a lot of curiosity. &nbsp; Let&rsquo;s take the example of what Heidi Wood proposes here. What is it? It is an image in a light box placed in the public sphere. What does the image represent? It is a photograph of her neighborhood. Within this image is second image. We recognize it without recognizing it. We have seen it somewhere before without being able to say where. In short, it is a light box hung in a real place. In the light box is a photographic image and in this image is an abstract shape. We can legitimately make a certain number of observations on the effects of this image within the image within the image. But let&rsquo;s look at things from the perspective of how they are made, their causality. Heidi Wood designs an abstract shape (a sort of painting) in reference to her daily iconic environment, saturated with this familiar signage. It is a generic image made to look like many others without specifically being any of them. A sort of logo without a brand &ndash; less a brand image than the essence of a brand. In line with current communication strategies, the artist looks for a place to hang her painting. She imagines placing it in her immediate surroundings &ndash; let&rsquo;s say downstairs from where she lives. And instead of getting permission to really do it, she creates an image that simulates it. Finally, to communicate on her project, she puts it in a small light box and hangs it in a public place. &nbsp; In total, there are ten light boxes placed in ten different places in the 10th arrondissement: ten occurrences for a same working method conceived in response to an invitation from the town hall. The specificity of Heidi Wood&rsquo;s work is precisely that she simulates promotion strategies used by the commercial sector by infiltrating traditional networks of urban communication and in establishing a professional relationship of service provider with her patrons. In other words, Heidi Wood is less a painter than a designer of forms inspired by and destined for a given site. She is aware that, today more than ever, images only exist in relation to their environment. Their quality &ndash; and as a result, their status &ndash; is only understood through the connections they establish with the context in which they are inscribed. In taking virtual possession of spaces normally given over to billboard advertising, by submitting her forms to the context liable to engender them, she does not denounce or corrupt a system. She exploits it. She makes it serve her own artistic ends. She adapts to the most immediate modes of exteriorization, to the conditions of expression of her times. &nbsp; Painting from life once meant setting up an easel in the landscape to make a picture of it. The artwork was conceived in this direct confrontation between the motif and the referent. In the completely reinvented landscaped context of the modern world that the image has conquered, often by replacing the real, it could be that Heidi Wood incarnates the surprisingly updated figure of the &ldquo;painter from life&rdquo;. Her paintings are inscribed within our most trivial everyday environment, acting to reveal our conditioned relation to the world and to images. &nbsp; <strong>Philippe Coubetergues</strong> March 2006 <em>Heidi Wood dans le X&egrave;me,&nbsp;</em>catalogue Translated from French</p>',	'<p>Il y a au moins deux mouvements pour s&rsquo;&eacute;tonner du travail d&rsquo;un artiste. Le premier consiste &agrave; regarder ce qu&rsquo;il a fait et &agrave; se demander ce que c&rsquo;est, le plus profond&eacute;ment possible, le plus compl&egrave;tement possible et en allant bien au-del&agrave; des seules apparences (qui comme chacun sait sont souvent trompeuses en mati&egrave;re d&rsquo;art). Le second consiste &agrave; refaire le chemin inverse et &agrave; se demander comment c&rsquo;est fait, dans quelle logique, selon quelles intuitions, quel projet et en allant bien au-del&agrave; des simples id&eacute;es re&ccedil;ues (qui sont faciles &agrave; reconna&icirc;tre car ce sont souvent les premi&egrave;res qui nous viennent &agrave; l&rsquo;esprit). Dans cet aller-retour, il se pourrait que l&rsquo;on croise une &oelig;uvre d&rsquo;art. C&rsquo;est un exercice qui demande un peu de concentration et beaucoup de curiosit&eacute;.</p><p>&nbsp;</p><p>Prenons l&rsquo;exemple de ce que nous propose ici Heidi Wood. De quoi s&rsquo;agit-il&nbsp;? C&rsquo;est une image dans un caisson lumineux plac&eacute; dans l&rsquo;espace public. Que repr&eacute;sente cette image&nbsp;? C&rsquo;est une photographie du quartier. Dans cette image se trouve une seconde image. On la reconna&icirc;t sans la reconna&icirc;tre, on l&rsquo;a d&eacute;j&agrave; vue quelque part sans pouvoir dire o&ugrave;. R&eacute;capitulons : c&rsquo;est un caisson lumineux accroch&eacute; dans l&rsquo;espace r&eacute;el, dans ce caisson se trouve une image photographique et dans cette image se trouve un motif abstrait. On peut faire l&eacute;gitimement bien des observations quant aux effets d&rsquo;un tel embo&icirc;tement d&rsquo;images (au sens propre comme au sens figur&eacute;). Mais reprenons plut&ocirc;t les choses dans la logique de leur production, celle de leur causalit&eacute;. Heidi Wood con&ccedil;oit un motif abstrait (une sorte de tableau) en r&eacute;f&eacute;rence &agrave; son environnement iconique quotidien envahi de cette signal&eacute;tique famili&egrave;re. C&rsquo;est une image g&eacute;n&eacute;rique faite pour ressembler &agrave; bien d&rsquo;autres sans correspondre pr&eacute;cis&eacute;ment &agrave; aucune. Une sorte de logo sans marque - moins une image de marque que la marque d&rsquo;une image. A l&rsquo;instar des d&eacute;marches actuelles de communication, l&rsquo;artiste recherche un espace d&rsquo;affichage pour son tableau. Elle imagine son inscription dans l&rsquo;espace public imm&eacute;diat &ndash; disons en bas de chez elle. Et &agrave; d&eacute;faut d&rsquo;obtenir les autorisations pour le faire r&eacute;ellement, elle tire une image de cette simulation. Enfin pour communiquer sur son projet, elle embo&icirc;te l&rsquo;image dans un petit caisson lumineux qu&rsquo;elle accroche dans un lieu public.</p><p>&nbsp;</p><p>Il existe au total dix caissons lumineux plac&eacute;s &agrave; dix endroits diff&eacute;rents du X<sup>&egrave;me</sup> arrondissement&nbsp;: dix occurrences pour un m&ecirc;me protocole con&ccedil;u en r&eacute;ponse &agrave; une invitation de la mairie. La sp&eacute;cificit&eacute; du travail d&rsquo;Heidi Wood consiste pr&eacute;cis&eacute;ment &agrave; simuler les logiques de promotion du secteur commercial en infiltrant les r&eacute;seaux classiques de communication urbaine et en &eacute;tablissant avec ses commanditaires une relation professionnelle sur le mod&egrave;le d&rsquo;un prestataire de service. En d&rsquo;autres termes, Heidi Wood est moins un peintre qu&rsquo;un concepteur de motifs &agrave; partir et &agrave; destination d&rsquo;un site donn&eacute;. Car elle est consciente qu&rsquo;aujourd&rsquo;hui plus que jamais, les images n&rsquo;existent qu&rsquo;en rapport &agrave; leur environnement. Leur qualit&eacute; - et par cons&eacute;quent leur statut - n&rsquo;est d&eacute;celable qu&rsquo;&agrave; travers les liens qu&rsquo;elles tissent avec le contexte de leur inscription. Ce faisant, en prenant virtuellement possession des espaces habituellement d&eacute;volus &agrave; l&rsquo;affichage public, en soumettant ses motifs au contexte susceptible de les g&eacute;n&eacute;rer, elle ne d&eacute;nonce ni ne d&eacute;tourne un syst&egrave;me, elle l&rsquo;exploite&nbsp;; elle le met au service de ses propres fins artistiques, elle s&rsquo;adapte aux modes d&rsquo;ext&eacute;riorisation les plus imm&eacute;diates, aux conditions d&rsquo;expression propres &agrave; son temps.</p><p>&nbsp;</p><p>Peindre sur le motif consistait autrefois &agrave; s&rsquo;installer avec son chevalet au c&oelig;ur m&ecirc;me du paysage pour en faire le tableau. L&rsquo;&oelig;uvre se concevait dans cette confrontation directe du motif au r&eacute;f&eacute;rent. Dans le contexte paysag&eacute; enti&egrave;rement r&eacute;invent&eacute; du monde moderne que l&rsquo;image est venue conqu&eacute;rir en se substituant tr&egrave;s fr&eacute;quemment au r&eacute;el, il se pourrait qu&rsquo;Heidi Wood incarne la figure r&eacute;actualis&eacute;e et &eacute;tonnante du &laquo;&nbsp;peintre sur le motif&nbsp;&raquo;. Ses tableaux inscrits au sein de notre quotidien le plus trivial jouent le r&ocirc;le de v&eacute;ritables r&eacute;v&eacute;lateurs de notre rapport conditionn&eacute; au monde et aux images.</p><p>&nbsp;</p><p><strong>Philippe Coubetergues</strong></p><p>mars 2006</p><p>Catalogue <em>Paris X&egrave;me</em></p><p>&nbsp;</p>',	'HEIDI WOOD in the 10th arrondissement, Paris',	'PHILIPPE COUBETERGUES',	'PARIS 10ÈME, 2006',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'paris-10eme-philippe-coubetergues-2006',	'paris-10eme-philippe-coubetergues-2006',	'',	'',	'2018-10-19 17:37:59',	NULL,	'2018-10-19 17:37:59',	'2023-10-30 19:25:52',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1725',	0,	'doc_article',	'doc_article',	'',	0),
(1728,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-07 09:35:57',	'2018-10-07 09:35:57',	'<p><strong>(HEIDI WOOD, LOS ANGELES # 1 - 12)&nbsp;</strong> &nbsp; <strong>&ldquo;I&rsquo;m Mr. Opportunity and I&rsquo;m knocking&rdquo;</strong> An ever greater margin of profit within contemporary capitalism is obtained through the co-optation of human creativity and autonomy, for in a world of increasingly artificial needs, the economy is founded less on producing objects, than on producing subjects to consume those objects. Over the past two decades, it has become abundantly clear that what were formerly art-specific competencies &ndash; exemplified by such watchwords as autonomy, flexibility, inventiveness, mobility, creativity, refusal of hierarchy, intrinsic motivation, and so on &ndash; have been self-consciously harnessed by managerial rationality, and now describe the ideal-type of the qualified worker of the future as much as they do the artist. French sociologist Pierre-Michel Menger goes so far as to describe contemporary art as &ldquo;a principle of fermentation for neo-capitalism.&rdquo; Art, he argues, has ceased to have heuristic value for anything but developing cutting-edge business models, test-driving new modes of production, or analysing the ins and outs of individualised labour relations. Those who persist in critiquing the system head-on inadvertently end up doing it an inestimable service, by pointing out its potential for expansion: criticise fast food and the market rebounds with organics; criticise the over-glorification of youthfulness and you&rsquo;re only a phone call away from laser vaginal rejuvenation&hellip; In short, contemporary capitalism thrives on critique, the more incisive the better. &nbsp; <strong>&ldquo;Our mission is to empower your awareness&rdquo;</strong> This, I think, is the fundamental insight behind Heidi Wood&rsquo;s artistic practice. And this is what makes it so disconcerting when considered from the perspective of the values underpinning the symbolic economy of twentieth-century art. Heidi Wood settles her scores with those values in a stingingly lucid one-liner, juxtaposed with an image of an abstract painting placed above a warehouse loading bay, in the fourth of her Los Angeles photomontages: <em>&ldquo;Our mission is to empower your awareness.&rdquo;</em> Awareness empowerment is precisely the self-assigned and perfectly mythical mission to which art continues to cling. Yet if ever art&rsquo;s self-awareness were empowered, it would have to acknowledge &ndash; as Heidi Wood apparently has &ndash; that it too has been backed, more or less complacently, into a loading bay, for the delivery of signs to the consumer world&rsquo;s &ldquo;constantly moving happiness machines&rdquo;. &nbsp; <strong>&ldquo;But wait, it gets even better&rdquo;</strong> &ldquo;You have turned people into constantly moving happiness machines&rdquo;, wrote an admiring President Herbert Hoover in 1928 to Edward Bernays, the man credited with having invented PR and advertising, two forms of what he termed the &ldquo;engineering of consent&rdquo;. Bernays also happened to be Sigmund Freud&rsquo;s nephew &ndash; which is quite a coincidence when you think about it<strong>.&nbsp;</strong>Variously dubbed the &ldquo;Baron of Ballyhoo&rdquo; and the &ldquo;Father of Spin&rdquo;, Bernays was the consummate Angeleno and unselfconsciously candid about his manipulative intent. &ldquo;If we understand the mechanisms and motives of the group mind, it is now possible to control and regiment the masses according to our will without their knowing it,&quot; he conjectured merrily in <em>Propaganda,&nbsp;</em>one of his first books. &ldquo;The conscious and intelligent manipulation of the organised habits and opinions of the masses is an important element in democratic society,&rdquo; Bernays wrote, in one of the most shamelessly self-refuting definitions of &ldquo;democratic society&rdquo; ever formulated. &ldquo;Those who manipulate this unseen mechanism of society constitute an invisible government which is the true ruling power of our country&hellip;. In almost every act of our daily lives, whether in the sphere of politics or business, in our social conduct or our ethical thinking, we are dominated by the relatively small number of persons . . . who understand the mental processes and social patterns of the masses. It is they who pull the wires which control the public mind.&rdquo; And most of them, he might as well have added, live in Los Angeles. &nbsp; <strong>&ldquo;Common decency&hellip;&rdquo;</strong> It&rsquo;s worth delving a little deeper into Bernays&rsquo; consumer revolution, if only because it is probably the single most important source of the regime of deceit encompassing the signage and verbiage Wood is hacking into. Instead of targeting purchasers&rsquo; practical common sense, as mere product information had previously done, advertising was to embody a message, transforming commodities &ndash; however frivolous or trivial &ndash; into vectors of symbolic meaning. The point, after all, was nothing so small time as selling objects; rather, it had everything to do with <em>producing subjects to consume objects</em> &ndash; producing consumers who would experience the very act of consumption as giving expression to what Bernays called their &ldquo;innermost self&rdquo; &ndash; a notion that obviously had considerable significance in his family circle and beyond. Advertising was the instrument through which the commodity acquired the power to produce its consumers, who could in turn be counted upon to validate and promote its symbolic value. It is thus consumers themselves who would henceforth engage in the invisible labour of self-production, providing &ldquo;subjects for objects&rdquo;, consumers for commodities. Advertising&rsquo;s function, in short, was merely to induce within the mind of the consumer a channel for self-production, highlighting brandnamed goods and commodified experiences as the very emblems of their own promotion. And that&rsquo;s what&rsquo;s known as California Dreaming&hellip; Stretching a point only slightly, one might argue that art stands with respect to advertising as Freud does to his American nephew Bernays. Heidi Wood&rsquo;s point, at any rate, is that high art is neither other, nor somehow better, than its allegedly crassly commercial cousin; indeed art&rsquo;s illusion of difference and freedom merely reveals that it too has found its niche group of consumers, who, as Bernays so aptly put it, &ldquo;don&rsquo;t actually need what they desire and don&rsquo;t desire what they actually need.&rdquo; &nbsp; <strong>&ldquo;Arnold says: &lsquo;California wants your business&rsquo;&rdquo;</strong> Should Heidi Wood&rsquo;s work be taken at face value, as a sincere acceptance of the design imperatives of cultural capitalism? This seems an unlikely hypothesis, sitting uneasily with her hard-edged work; but it is no more implausible than supposing the work is intended as some sort of tongue-in-cheek send-up of the idiocies of consumer manipulation, if only because trying to outsmart the cynics at their own game is obviously hopeless. Understanding Heidi Wood&rsquo;s position thus requires that we accept the notion of a third level; neither sincere, nor send up, but on a different map altogether. Like her earlier &ldquo;Serving Suggestions&rdquo; series, Wood&rsquo;s new work is characterized by an exceedingly low coefficient of artistic visibility. By this, I don&rsquo;t of course mean the work is somehow invisible &ndash; it is highly visible, but not necessarily as art, in the sense of autonomously visible objects fitting that description. Thus, Wood&rsquo;s artistic practice lies as much in infiltrating the ambient semiotic economy of commercial and domestic settings or generic urban landscapes, as it does in actually producing the painterly forms with which she discreetly contaminates those spaces. The drive-by design of her &ldquo;paintings&rdquo; themselves is uncannily nondescript: a disk shape surrounded by a semi-circular line against a mauve background, photoshopped onto a billboard along a seedy-looking strip mall, is neither unequivocally vaginal nor certifiably non-vaginal; an icon that isn&rsquo;t. &nbsp; <strong>Spam aesthetics</strong> As might be expected, Los Angeles &ndash; ground zero, so to speak, of the subjectivity-production industry &ndash; has left a mark on Wood&rsquo;s practice. She could scarcely remain indifferent to the quantity of text that fills the city&rsquo;s visual field, and that formally speaking accounts for the emergence of text in the work she produced there. By adding text, Wood has found a way to integrate the mercantile pragmatics of the urban context as a whole, permeating the otherwise painting-free signscape with painted surfaces. It is worth pointing out that the series itself emerged as spam: that is, before undergoing a shift into the form of rarefied artwork, the series existed in the form of gratuitous excess, cluttering the Inboxes of people like me. The aesthetics of spamming are becoming well known but because the practice has not yet been validated by mainstream artworld values (as the serialised version of hitherto uncommodified mail art), its coefficient of artistic visibility is literally negligible. Day after day, I looked at the perplexing series that seemed to be trying to sell something it didn&rsquo;t possess to someone who didn&rsquo;t want it. Beneath each text &ndash; less the &ldquo;subtext&rdquo; of the images they accompanied than red-herrings &ndash; was a commercial signature: <em>&copy; Heidi Wood</em>. What, one wondered, was Heidi Wood? An artist? A visual experience consultant? Post-pop at level three. &nbsp; <strong>Stephen Wright</strong>, 2005<strong>&nbsp;</strong><em>Los Angeles Diaries (nutrition disguised as fun)&nbsp;</em>catalogue</p>',	'<p><strong>(HEIDI WOOD, LOS ANGELES # 1 - 12)</strong></p><p>&nbsp;</p><p><strong>&ldquo;&nbsp;Une chance exceptionnelle s&rsquo;offre &agrave; vous&nbsp;&rdquo;</strong></p><p>Le capitalisme obtient, de nos jours, une marge de profits toujours plus grande en favorisant la cr&eacute;ativit&eacute; humaine et l&rsquo;autonomie. Dans un monde o&ugrave; les besoins artificiels sont en expansion constante, l&rsquo;&eacute;conomie se fonde moins sur la production d&rsquo;objets que sur la production de sujets susceptibles de consommer ces objets. Au cours des deux derni&egrave;res d&eacute;cennies, il est apparu tr&egrave;s clairement que les qualit&eacute;s consid&eacute;r&eacute;es jusque-l&agrave; comme des comp&eacute;tences sp&eacute;cifiquement artistiques &ndash; dont les ma&icirc;tres mots sont autonomie, flexibilit&eacute;, inventivit&eacute;, mobilit&eacute;, cr&eacute;ativit&eacute;, refus de la hi&eacute;rarchie, n&eacute;cessit&eacute; int&eacute;rieure, etc. &ndash; ont &eacute;t&eacute; r&eacute;cup&eacute;r&eacute;es dans un sens tr&egrave;s pragmatique par les gestionnaires de ressources humaines et &eacute;voquent &agrave; pr&eacute;sent autant l&rsquo;artiste que l&rsquo;id&eacute;al type du travailleur qualifi&eacute;. Le sociologue fran&ccedil;ais Pierre-Michel Menger va m&ecirc;me jusqu&rsquo;&agrave; d&eacute;crire l&rsquo;art contemporain comme &ldquo;&nbsp;un ferment du n&eacute;o-capitalisme&nbsp;&rdquo;. La fonction heuristique de l&rsquo;art, explique-t-il, ne sert plus d&eacute;sormais &agrave; rien d&rsquo;autre qu&rsquo;&agrave; d&eacute;velopper des mod&egrave;les de business toujours plus performants, &agrave; concevoir des pilotes d&rsquo;essai pour de nouveaux modes de production et &agrave; analyser les tenants et les aboutissants des relations de travail personnalis&eacute;es. Ceux qui persistent &agrave; critiquer et remettre en cause le syst&egrave;me finissent toujours, &agrave; leur insu, par servir favorablement ses int&eacute;r&ecirc;ts en lui montrant notamment ses capacit&eacute;s d&rsquo;expansion&nbsp;: la critique s&rsquo;attaque aux fast-foods, le march&eacute; rebondit avec les produits bios&nbsp;; elle s&rsquo;en prend &agrave; la valorisation exag&eacute;r&eacute;e de la jeunesse, mais un coup de t&eacute;l&eacute;phone et vous pouvez vous faire remodeler le vagin au laser &hellip; En d&rsquo;autres termes, le capitalisme aujourd&rsquo;hui se nourrit de la critique&nbsp;: plus elle est incisive, plus il en profite.</p><p>&nbsp;</p><p><strong>&ldquo;&nbsp;Notre mission est de renforcer votre conscience&nbsp;&rdquo;</strong></p><p>Voil&agrave;, &agrave; mon sens, l&rsquo;int&eacute;r&ecirc;t principal de la pratique artistique d&rsquo;Heidi Wood. Voil&agrave; ce qui rend son travail si d&eacute;concertant du point de vue des valeurs qui r&eacute;gissent l&rsquo;&eacute;conomie symbolique de l&rsquo;art du XX&egrave; si&egrave;cle. Dans le quatri&egrave;me de ses photomontages r&eacute;alis&eacute;s &agrave; Los Angeles, Heidi Wood r&egrave;gle ses comptes avec ces valeurs par un slogan laconique et cinglant juxtapos&eacute; &agrave; une peinture abstraite, dispos&eacute;e au-dessus du quai de d&eacute;chargement d&rsquo;un entrep&ocirc;t&nbsp;: &ldquo;&nbsp;Notre mission est de renforcer votre conscience.&nbsp;&rdquo;. Renforcer les consciences est pr&eacute;cis&eacute;ment la mission parfaitement mythique que s&rsquo;est auto-assign&eacute;e l&rsquo;art et qu&rsquo;il continue de poursuivre. Pourtant, si jamais la conscience de soi de l&rsquo;art &eacute;tait renforc&eacute;e, elle devrait reconna&icirc;tre, comme Heidi Wood l&rsquo;a manifestement fait, qu&rsquo;elle s&rsquo;est trouv&eacute;e elle aussi rel&eacute;gu&eacute;e, avec plus ou moins de bonheur, sur un quai de d&eacute;chargement destin&eacute; &agrave; la livraison de signes pour &ldquo;&nbsp;les machines &agrave; bonheur toujours en mouvement&nbsp;&rdquo; de la soci&eacute;t&eacute; de consommation.</p><p>&nbsp;</p><p><strong>&ldquo;&nbsp;De mieux en mieux, vous allez voir&hellip;&nbsp;&rdquo;</strong></p><p>&ldquo;&nbsp;Vous avez transform&eacute; les gens en machines &agrave; bonheur toujours en mouvement&nbsp;&rdquo;, &eacute;crivait admiratif le pr&eacute;sident Herbert Hoover en 1928 &agrave; Edward Bernays, l&rsquo;homme &agrave; qui on attribue l&rsquo;invention des &ldquo;&nbsp;relations publiques&nbsp;&rdquo; et de la publicit&eacute;, deux formes de ce qu&rsquo;il appelait lui-m&ecirc;me &ldquo;&nbsp;l&rsquo;ing&eacute;ni&eacute;rie du consentement&nbsp;&rdquo;. Bernays &ndash; qui, par ailleurs, &eacute;tait le neveu de Sigmund Freud&nbsp;! &ndash; &eacute;tait l&rsquo;incarnation parfaite de l&rsquo;habitant de Los Angeles&nbsp;: direct et sans le moindre scrupule quant &agrave; ses intentions manipulatrices. &ldquo;&nbsp;D&egrave;s lors qu&rsquo;on parvient &agrave; comprendre et &agrave; analyser les m&eacute;canismes et les motivations de l&rsquo;esprit de groupe, il devient possible de contr&ocirc;ler et de diriger les masses selon notre propre volont&eacute; et sans qu&rsquo;elle s&rsquo;en aper&ccedil;oivent&nbsp;&rdquo; &eacute;crit-il sans d&eacute;tour dans Propaganda, son premier livre, publi&eacute; en 1928. &ldquo;&nbsp;La manipulation consciente et intelligente de l&rsquo;ensemble des habitudes et des opinions des masses est un &eacute;l&eacute;ment d&eacute;cisif pour les soci&eacute;t&eacute;s d&eacute;mocratiques&nbsp;&rdquo;, &eacute;crit-il encore, dans l&rsquo;une des d&eacute;finitions les plus cyniquement antinomiques de la soci&eacute;t&eacute; d&eacute;mocratique jamais formul&eacute;e. &ldquo;&nbsp;Ceux qui manipulent dans l&rsquo;ombre ces m&eacute;canismes de la soci&eacute;t&eacute; constituent un pouvoir invisible&nbsp;: ce sont eux qui gouvernent r&eacute;ellement le pays&hellip; &Agrave; quasiment tous les niveaux de notre vie quotidienne, qu&rsquo;il s&rsquo;agisse de politique ou de business, de nos habitudes sociales ou de nos principes moraux, nous sommes domin&eacute;s par un petit nombre de personnes&hellip; qui a su comprendre et utiliser les processus mentaux et les comportements sociaux des masses. Ce sont eux qui tirent les ficelles et contr&ocirc;lent les esprits des gens.&nbsp;&rdquo; Et la plupart d&rsquo;entre eux, aurait-il pu ajouter, vivent &agrave; Los Angeles.</p><p>&nbsp;</p><p><strong>&ldquo;&nbsp;Les bonnes mani&egrave;res&hellip;&nbsp;&rdquo;</strong></p><p>Cela vaut la peine de s&rsquo;attarder un peu sur la r&eacute;volution consum&eacute;riste initi&eacute;e par Bernays, ne serait que parce qu&rsquo;elle est la source de la supercherie que constitue le mode de communication par signes ou par slogans d&eacute;tourn&eacute; par Heidi Wood. Au lieu de viser l&rsquo;esprit pratique et le bon sens des acheteurs et d&rsquo;informer sur les produits, comme on le faisait auparavant, la publicit&eacute; s&rsquo;est employ&eacute;e &agrave; incarner un message, &agrave; transformer les biens de consommation &ndash; si frivoles ou ordinaires soient-ils &ndash; en vecteurs de messages symboliques. Le but, en d&eacute;finitive, n&rsquo;&eacute;tait pas de vendre des objets, loin de l&agrave;&nbsp;; il s&rsquo;agissait, bien plut&ocirc;t, de produire des sujets susceptibles de consommer des objets, produire des consommateurs qui feraient v&eacute;ritablement l&rsquo;exp&eacute;rience de la consommation et donneraient forme &agrave; ce que Bernays appelait &ldquo;&nbsp;leur moi le plus intime&nbsp;&rdquo; &ndash; une notion qui bien &eacute;videmment avait alors un sens tr&egrave;s fort dans le cercle familial de Bernays comme au-del&agrave;. La publicit&eacute; &eacute;tait l&rsquo;instrument gr&acirc;ce auquel la marchandise acqu&eacute;rait le pouvoir de produire ses propres consommateurs sur lesquels elle pouvait compter, en retour, pour valider et promouvoir sa valeur symbolique. Les consommateurs eux-m&ecirc;mes se trouvaient donc engag&eacute;s dans un travail invisible d&rsquo;auto-production, fournissant &ldquo;&nbsp;des sujets pour les objets&nbsp;&rdquo;, des consommateurs pour les marchandises. La fonction de la publicit&eacute;, somme toute, &eacute;tait simplement d&rsquo;insinuer dans l&rsquo;esprit des consommateurs une cha&icirc;ne d&rsquo;auto-production mettant en valeur des produits de consommation de marque et des exp&eacute;riences de consommation comme v&eacute;ritables embl&egrave;mes de leur propre promotion. Tel est le pr&eacute;tendu r&ecirc;ve californien&hellip; En extrapolant un peu, on pourrait affirmer que l&rsquo;art est &agrave; la publicit&eacute;, ce que le Viennois Freud est &agrave; son tr&egrave;s californien neveu Bernays. Le propos d&rsquo;Heidi Wood, quoi qu&rsquo;il en soit, est de montrer que l&rsquo;art n&rsquo;est ni diff&eacute;rent, ni meilleur que ce qu&rsquo;on consid&egrave;re un peu h&acirc;tivement comme son pendant commercial. De fait, l&rsquo;illusion de diff&eacute;rence et de libert&eacute; que donne l&rsquo;art ne prouve qu&rsquo;une seule chose&nbsp;: l&rsquo;art a lui aussi trouv&eacute; son groupe de consommateurs qui, comme le formule justement Bernay, &ldquo;&nbsp;n&rsquo;ont en r&eacute;alit&eacute; pas besoin de ce qu&rsquo;ils d&eacute;sirent, et ne d&eacute;sirent pas ce dont ils ont besoin.&nbsp;&rdquo;</p><p>&nbsp;</p><p><strong>&ldquo;&nbsp; Venez faire des affaires en Californie (Arnold Schwartzenger)&nbsp;&rdquo;</strong></p><p>Faut-il prendre le travail d&rsquo;Heidi Wood au pied de la lettre, comme une v&eacute;ritable soumission au design impos&eacute; par le capitalisme culturel? Cette hypoth&egrave;se semble peu probable et s&rsquo;accommode assez mal de sa d&eacute;marche plut&ocirc;t radicale. Il n&rsquo;est cependant pas davantage vraisemblable de supposer que son travail n&rsquo;est qu&rsquo;un pied de nez, visant &agrave; tourner en d&eacute;rision les strat&eacute;gies manipulatrices de la soci&eacute;t&eacute; de consommation. Essayer de prendre les cyniques &agrave; leur propre jeu est, en effet, vain. Comprendre la position d&rsquo;Heidi Wood suppose qu&rsquo;on accepte l&rsquo;id&eacute;e d&rsquo;un troisi&egrave;me degr&eacute;, ni sinc&egrave;re, ni ironique, mais les deux &agrave; la fois, situ&eacute;e &agrave; un autre niveau. Comme sa pr&eacute;c&eacute;dente s&eacute;rie intitul&eacute;e &ldquo;&nbsp;Serving suggestions&nbsp;&rdquo; (propositions d&rsquo;accompagnement), le nouveau travail d&rsquo;Heidi Wood se caract&eacute;rise par un coefficient de visibilit&eacute; artistique extr&ecirc;mement faible. Cela ne signifie nullement que son travail est invisible, au contraire. Son travail est tout &agrave; fait visible, mais pas n&eacute;cessairement en tant qu&rsquo;art, autrement dit pas n&eacute;cessairement comme production d&rsquo;objets visibles et autonomes r&eacute;pondant &agrave; la d&eacute;finition d&rsquo;art. La pratique d&rsquo;Heidi Wood consiste autant &agrave; s&rsquo;infiltrer dans l&rsquo;&eacute;conomie des signes qui nous entoure &ndash; dans les espaces commerciaux ou priv&eacute;s comme dans les paysages urbains &ndash;, qu&rsquo;&agrave; contaminer insidieusement ces espaces en y introduisant des formes peintes. Le design de ses &ldquo;&nbsp;peintures&nbsp;&rdquo; lui-m&ecirc;me est &eacute;trangement non descriptif. Impossible de savoir si cette forme de disque entour&eacute;e d&rsquo;une ligne semi-circulaire, plac&eacute;e sur fond mauve et incrust&eacute; par Photoshop sur un panneau d&rsquo;affichage en fa&ccedil;ade d&rsquo;un minable centre commercial, repr&eacute;sente ou non en fin de compte un vagin. C&rsquo;est une ic&ocirc;ne qui n&rsquo;en est pas une.</p><p>&nbsp;</p><p><strong>L&rsquo;esth&eacute;tique du spam</strong></p><p>Comme on pouvait s&rsquo;y attendre, Los Angeles &ndash; berceau de ce qu&rsquo;on appelle l&rsquo;industrie de la production de subjectivit&eacute; &ndash; a fortement impr&eacute;gn&eacute; la pratique d&rsquo;Heidi Wood. Elle pouvait difficilement rester insensible &agrave; la quantit&eacute; de texte qui sature le champ visuel de la ville. De fait, d&rsquo;un point de vue formel, c&rsquo;est ce qui explique l&rsquo;apparition du texte dans ses travaux produits &agrave; Los Angeles. En introduisant du texte, d&rsquo;une part, et en contaminant, d&rsquo;autre part, ce syst&egrave;me de signes dont la peinture est totalement absente, avec des formes peintes par elle, Heidi Wood a trouv&eacute; le moyen d&rsquo;int&eacute;grer et de faire cohabiter dans ses travaux les diff&eacute;rents aspects de la publicit&eacute; pr&eacute;sente dans l&rsquo;espace urbain. Il est important de signaler que la s&eacute;rie r&eacute;alis&eacute;e &agrave; Los Angeles a &eacute;t&eacute; pr&eacute;sent&eacute;e sous forme de spams&nbsp;: autrement dit, sous la forme d&rsquo;une gratuit&eacute; impos&eacute;e, qui sature les bo&icirc;tes mail de gens comme moi. Une esth&eacute;tique du spam est en train de voir le jour, mais comme cette pratique n&rsquo;est pas encore reconnue sur le march&eacute; de l&rsquo;art (elle constitue la version mercantile du mail art qui, jusqu&rsquo;ici, avait &eacute;chapp&eacute; &agrave; toute marchandisation), son coefficient de visibilit&eacute; artistique est totalement n&eacute;gligeable. Jour apr&egrave;s jour, j&rsquo;ai regard&eacute; ces s&eacute;ries &eacute;tonnantes, qui semblent chercher &agrave; vendre quelque chose qu&rsquo;elles ne poss&egrave;dent pas &agrave; quelqu&rsquo;un qui n&rsquo;en veut pas.<br>En dessous de chaque texte figure la mention&nbsp;: &copy; Heidi Wood &ndash; qui brouille plus les pistes qu&rsquo;elle ne renseigne sur les images qu&rsquo;elle accompagne. L&rsquo;identit&eacute; d&rsquo;Heidi Wood demeure &eacute;nigmatique&nbsp;: une artiste&nbsp;? une consultante en exp&eacute;rience visuelle&nbsp;? Un art post-pop cultivant le troisi&egrave;me degr&eacute;.</p><p>&nbsp;</p><p><strong>Stephen Wright,</strong> 2005<strong><br></strong></p><p>Catalogue <em>Los Angeles Diaries (nutrition disguised as fun)</em></p>',	'LEVEL THREE',	'STEPHEN WRIGHT',	'LEVEL THREE (LOS ANGELES #1 - 12), 2005',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'level-three-stephen-wright-2005',	'level-three-stephen-wright-2005',	'',	'',	'2018-10-19 17:44:01',	NULL,	'2018-10-19 17:44:01',	'2023-10-30 19:26:19',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1728',	0,	'doc_article',	'doc_article',	'',	0),
(1731,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-07 08:40:00',	'2018-10-07 08:40:00',	'<p><em>&ldquo;Plan&egrave;te Magique&rdquo;</em> is a deserted fairground, an abandoned amusement park, located in the heart of Paris. Before this Ali Baba&rsquo;s cave becomes the new haunt of electronic arts, Heidi Wood has made a series of photographs&hellip; of her paintings. The ultra kitsch decorations and the still-intact magic roundabouts of <em>&ldquo;Plan&egrave;te Magique&rdquo;</em> are an ideal backdrop for adventurous paintings. For Heidi Wood does not like to leave her paintings at rest. She moves them into incongruous places where they nonetheless have every chance of fitting in: their round, sharp and colored geometry owes as much to the vocabulary of artistic formalism as to design or fashion. In short, these forms are too saturated with different sources to not appear original. They are both ho-hum and special, mysteriously timeless and fabulously fashionable. In being thrust into this very eighties atmosphere, the question is whether the paintings will be absorbed by the decor, or whether they will hold their own and manage to defend their autonomy at any cost. Heidi Wood does not tip the balance either way. On the contrary, she does everything to maintain ambiguity. In framing the shots and fine-tuning her paintings to the esthetic of the site, the artist remodels both her paintings and the environment. Thanks to this <em>mise en sc&egrave;ne</em>, she creates the conditions for a strange combination of both. Ironically, as in a shop front window, what Heidi Wood is selling us is not the object or the artwork: it&rsquo;s the ambiance. &nbsp; <strong>Judica&euml;l Lavrador</strong> March 2003 <em>Heidi Wood &agrave; la Plan&egrave;te magique&nbsp;</em>catalogue<em>&nbsp;</em> Translated from French</p>',	'<p>&laquo;&nbsp;Plan&egrave;te Magique&nbsp;&raquo; est une friche foraine, un ancien parc d&rsquo;attraction, situ&eacute; en plein c&oelig;ur de Paris. Avant que cet esp&egrave;ce de caverne d&rsquo;Ali Baba ne devienne l&rsquo;antre des arts &eacute;lectroniques, Heidi Wood y a fait une s&eacute;rie de photos&hellip; de ses tableaux. Les d&eacute;corations ultra kitsch et les m&eacute;nages enchant&eacute;s encore intacts de &laquo;&nbsp;Plan&egrave;te Magique&nbsp;&raquo; constituent ainsi la toile de fond id&eacute;al de peintures aventureuses. Car Heidi Wood n&rsquo;a pas l&rsquo;habitude de laisser ses toiles au repos. Elle les d&eacute;m&eacute;nage dans les espaces incongrus o&ugrave; elles auront toutes les chances pourtant d&rsquo;avoir l&rsquo;air bien adapt&eacute;&nbsp;: leur g&eacute;om&eacute;trisme rond, pointu et color&eacute;, l&rsquo;artiste l&rsquo;emprunte aussi bien au vocabulaire du formalisme artistique qu&rsquo;&agrave; celui du design ou de la mode. Bref, ces motifs sont trop imbib&eacute;s de diff&eacute;rentes sources pour ne pas para&icirc;tre in&eacute;dits, &agrave; la fois quelconques et singuliers, myst&eacute;rieusement indatables et furieusement tendance. Du coup, alors qu&rsquo;elle est ici plong&eacute;e dans cette atmosph&egrave;re tr&egrave;s eighties, il s&rsquo;agit de voir si cette peinture se laisse absorber par le d&eacute;cor. Ou si elle se maintient hors de lui et parvient &agrave; d&eacute;fendre co&ucirc;te que co&ucirc;te son autonomie. Mais Heidi Wood ne fait pas nettement pencher la balance&nbsp;: elle s&rsquo;arrange au contraire pour maintenir l&rsquo;ambigu&iuml;t&eacute;. En choisissant la cadre de la prise de vue, en orientant finement sa peinture vers l&rsquo;esth&eacute;tique du lieu, l&rsquo;artiste refa&ccedil;onne et ses toiles et l&rsquo;environnement. Gr&acirc;ce &agrave; cette petite mise en sc&egrave;ne, elle cr&eacute;e les conditions d&rsquo;une contamination &eacute;trange entre les deux. Ironiquement, comme dans une vitrine de magasin, ce qu&rsquo;Heidi Wood nous vend, ce n&rsquo;est pas l&rsquo;objet ou l&rsquo;&oelig;uvre&nbsp;: c&rsquo;est l&rsquo;ambiance.</p><p>&nbsp;</p><p><strong>Judica&euml;l Lavrador</strong></p><p>mars 2003</p><p>Publi&eacute; dans <em>Heidi Wood &agrave; la Plan&egrave;te Magique</em></p><p>lors de l&rsquo;exposition personnelle &agrave; la Galerie Anne Barrault du 4 juin au 12 juillet 2003</p>',	'MAGIC PLANET',	'JUDICAËL LAVRADOR',	'MAGIC PLANET, 2003',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'magic-planet-judicael-lavrador-2003',	'magic-planet-judicael-lavrador-2003',	'',	'',	'2018-10-19 17:45:27',	NULL,	'2018-10-19 17:45:27',	'2023-10-30 19:26:44',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1731',	0,	'doc_article',	'doc_article',	'',	0),
(1734,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-05 17:46:00',	'2018-10-05 17:46:00',	'<p><em>&lsquo;We are in need of a new interior.&rsquo;</em> &nbsp; These words were written by Theo van Doesburg, artist and founder of the journal De Stijl, in a letter to the architect J.J.P. Oud in 1916.<sup>1</sup> He was seeking Oud&rsquo;s collaboration in the design and building of spaces that would fuse colour and architecture into spatial environments that exemplified the potential of abstraction and modernist ideals. &nbsp; &lsquo;Architectural space must be considered a blind, absolute void until colour turns it into something concrete. The spatio-temporal painting of the 20th century, with its plastic, structural possibilities, allows the artist to fulfil his dream: to place man, not before painting, but inside painting itself.&rsquo; <sup>2</sup> &nbsp; Now almost one hundred years later, van Doesburg&rsquo;s call for a new interior continues to have currency. I am reminded of his words when I look at the interiors of Heidi Wood which produce space through colour and abstraction. They are presented as displays that one might find in a furniture showroom where the latest lifestyle trends are arranged. New possibilities, new interiors, new buyers/viewers. But what is being offered up and suggested here? What is it about colour and space? Abstraction and space? What sorts of spaces is the viewer asked to step into? &nbsp; These interiors are animated by form and colour. Wood&rsquo;s quirky shapes &ndash; abstracted from familiar contexts that you can&rsquo;t quite put your finger on &ndash; are placed in a series of relations that reorientate and displace form and perception. Space is animated through shape and colour and processes of doubling and obscuring, repetition and displacement; plays between positive and negative, between horizontal and vertical surfaces of floor and wall. Similarly, van Doesburg&rsquo;s concentration on form and shape &ndash; in his case, the orthogonal and diagonal also aspired to an abstraction of displacement and reorientation of the viewer; straight lines counter-composing the architectural structure. Colour animates the spaces: van Doesburg confined his palette to primary colours in an attempt to capture the universal; Wood uses colours like brown found in many domestic interiors to draw in the familiar. &nbsp; The Baroque was another period concerned with the animation of space. Such conjunctions in this context may seem untenable but this overlooks the presence of the Baroque in current spatial thinking and philosophy and the potential for such interests to affect and find expression in a range of diverse practices. In drawing the Baroque into this text alongside van Doesburg and Wood is not through a focus on visual aesthetics &ndash; the three are dissimilar in image and form &ndash; but rather through a perceived commonality in a concern with activating and animating space. An interesting aside is that Wood has spoken about the &lsquo;ecstatic experience&rsquo; as an aspiration of her work; ecstasy is also a condition that van Doesburg and Baroque artists and architects aspired to &ndash; where the spatial encounter is one of fullness and excess. &nbsp; There is no appeal, however, by Wood to the architect as a collaborator in the construction of these new interiors. Rather she works within existing spaces and contexts such as the exterior neighbourhood visible through the end windows. She abstracts &ndash; draws out &ndash; relations to the domestic, familiar and decorative. This animates an interior space that is here rather than there, present rather than transcendental. I am reminded of a photograph titled &lsquo;Wright, Meier, Klein&rsquo;, by Louise Lawler in her photographic essay &lsquo;Arrangement of Pictures&rsquo;.<sup>3</sup> As with Wood&rsquo;s interiors, there is no hierarchy between the surfaces that compose the space &ndash; architectural wall, painting, openings to other spaces &ndash; all read as an abstract composition of black and white. Is it art or door? The architecture does not dominate in these interiors. Edges are blurred between painting and wall, between object and space. Becoming space, becoming material, becoming architecture, becoming art. &nbsp; This spatial aspect creates a different frame for the incorporation of paintings within an interior. Wood&rsquo;s art shares similarities with interior design practice such as Australian corporate office design during the 1990s where designers would look for paintings that would suit the colour of the interior. Or with domestic spaces, paintings to match the curtains. A painting as a portable and autonomous object that could be moved from space to space reaches its zenith in such interior decoration projects. And this lineage is one Wood draws on and abstracts into her displays; the painting object becomes integrated and integral to the spatial composition. &nbsp; Concurrently with a concentration on the actual space, there is also an emphasis on image. Wood frames her spaces: physically in the space, the art is framed like a series of display suites; as maquettes that draw the eye to visual relations; and as photographs which abstract and draw out the relations. In a sense, the camera is the corollary collaborator to van Doesburg&rsquo;s architect. It is also through image that Wood&rsquo;s art appears and is received. In my case, it is the only way I experience her art &ndash; through the photographic image. This is not an unfamiliar situation for an Australian. Throughout my art history and design education, I learnt about art, architecture and space through images. This is not to say that it equates with encountering the work in its materiality but neither does it support a privileging of one over the other. They are different encounters and engagements. I wonder if Wood, as someone who has lived in Australia, instinctively understands this and hence the dual dimensions of her work &ndash; producing both image and physical display. &nbsp; In a sense maybe this is where the new interior is located. Not in form or colour so much as a space of reception rather than representation. Interiors as reception spaces; viewers as receivers where &lsquo;the illusion is not in the painting. It is outside&rsquo;.<sup>4</sup> &nbsp; I wonder what Theo would say. &nbsp; <strong>Suzie Attiwill</strong> Melbourne August 2002 <em>La maison de banlieue</em> catalogue Espace d&rsquo;art contemporain Camille Lambert, Juvisy &nbsp; 1: quoted in Nancy J. Troy, &lsquo;The Abstract Environment of De Stijl&rsquo;, De Stijl: 1917&ndash;1931. Visions of Utopia, Walker Art Center, Minneapolis, New York: Abbeville Press, 1982, p. 165. 2: Theo van Doesburg from &lsquo;Farben im Raum und Zeit&rsquo;, De Stijl, VIII, 87/89, 1928, p. 36. Quoted in Sergio Polano &lsquo;De Stijl/Architecture = Nieuwe Beelding&rsquo;, De Stijl: 1917&ndash;1931. Visions of Utopia, p. 92. 3: Louise Lawler &lsquo;Arrangements of Pictures&rsquo; in Michelson, A. et al (eds.) October. The First Decade, 1976&ndash;1986, Cambridge Massachusetts: The MIT Press, 1987, p. 220. 4: Philippe Coubetergues &lsquo;Get the picture?&rsquo; in Heidi Wood. Serving Suggestions 2002, Exposition &agrave; l&rsquo;I.U.F.M. de Paris, 25 March to 13 April, 2002, footnote 14. &nbsp;</p>',	'<p><em>&laquo;&nbsp;Nous avons besoin d&rsquo;un nouvel int&eacute;rieur.&nbsp;&raquo;</em></p><p>&nbsp;</p><p>Ces mots ont &eacute;t&eacute; &eacute;crits par Theo van Doesburg, artiste fondateur de la revue <em>De Stijl</em>, dans une lettre &agrave; J.J.P. Oud en 1916.<sup>1</sup> Il sollicitait ainsi la collaboration de l&rsquo;architecte &agrave; la conception et la construction d&rsquo;espaces o&ugrave; couleur et architecture fusionneraient dans des environnements spatiaux qui illustreraient le potentiel de l&rsquo;abstraction et des id&eacute;aux modernistes.</p><p>&nbsp;</p><p>&laquo;&nbsp;L&rsquo;espace architectural doit &ecirc;tre consid&eacute;r&eacute; comme un <em>vide</em> aveugle, absolu, jusqu&rsquo;&agrave; ce que la couleur le rende concret. La peinture spatio-temporelle du 20&egrave;me si&egrave;cle, avec sa plastique, ses possibilit&eacute;s structurelles, permet &agrave; l&rsquo;artiste de r&eacute;aliser son r&ecirc;ve&nbsp;: celui de placer l&rsquo;homme, non pas <em>devant</em> le tableau, mais <em>&agrave; l&rsquo;int&eacute;rieur</em> m&ecirc;me du tableau.&nbsp;&raquo;<sup>2</sup></p><p>&nbsp;</p><p>Aujourd&rsquo;hui, presque cent ans plus tard, ce besoin d&rsquo;un nouvel int&eacute;rieur formul&eacute; par Theo van Doesburg est toujours l&agrave;. Ses mots me viennent &agrave; l&rsquo;esprit lorsque je regarde les int&eacute;rieurs de Heidi Wood qui produisent l&rsquo;espace par la couleur et l&rsquo;abstraction. Ils sont pr&eacute;sent&eacute;s, expos&eacute;s, comme dans un magasin de meubles o&ugrave; sont ainsi am&eacute;nag&eacute;es les derni&egrave;res tendances. Nouvelles possibilit&eacute;s, nouveaux int&eacute;rieurs, nouveaux acheteurs/regardeurs. Mais qu&rsquo;est-il offert et sugg&eacute;r&eacute; ici&nbsp;? Qu&rsquo;en est-il de la couleur et de l&rsquo;espace&nbsp;? De l&rsquo;abstraction et l&rsquo;espace&nbsp;? Dans quelles sortes d&rsquo;espaces le regardeur est-il invit&eacute; &agrave; p&eacute;n&eacute;trer&nbsp;?</p><p>&nbsp;</p><p>Ces int&eacute;rieurs sont anim&eacute;s par la forme et la couleur. Heidi Wood peint des formes &eacute;tranges (tir&eacute;es de contextes familiers mais pourtant pas tout &agrave; fait saisissables) qui s&rsquo;ins&egrave;rent dans une s&eacute;rie de relations qui r&eacute;orientent et d&eacute;placent forme et perception. L&rsquo;espace s&rsquo;anime par la forme et la couleur, le doublement et le recouvrement, la r&eacute;p&eacute;tition et le d&eacute;placement&nbsp;; il joue entre le positif et le n&eacute;gatif, entre les surfaces horizontales et verticales du sol et du mur. De m&ecirc;me, l&rsquo;attention particuli&egrave;re port&eacute;e par Theo van Doesburg &agrave; la forme (dans son cas, l&rsquo;orthogonale et la diagonale) visait une abstraction du d&eacute;placement et une r&eacute;orientation du regardeur, les lignes droites contrecarrant la structure architecturale. La couleur anime les espaces&nbsp;: Theo van Doesburg limitait sa palette aux couleurs primaires afin de capturer l&rsquo;universel&nbsp;; Heidi Wood quant &agrave; elle utilise des couleurs comme le marron, si r&eacute;pandu dans les int&eacute;rieurs domestiques, afin de faire appel au familier.</p><p>&nbsp;</p><p>Une autre p&eacute;riode soucieuse de l&rsquo;animation de l&rsquo;espace fut le Baroque. Un tel rapprochement peut sembler ici injustifi&eacute;, mais ce serait ignorer la pr&eacute;sence du Baroque dans la pens&eacute;e spatiale et la philosophie actuelles, ainsi que la capacit&eacute; de cette pr&eacute;occupation &agrave; affecter diverses pratiques et y trouver expression. Faire figurer dans ce texte le Baroque aux c&ocirc;t&eacute;s de Theo van Doesburg et de Heidi Wood ne s&rsquo;explique pas du point de vue de l&rsquo;esth&eacute;tique visuelle (tous trois sont diff&eacute;rents tant dans l&rsquo;image que dans la forme), mais plut&ocirc;t d&rsquo;un souci commun d&rsquo;activer et d&rsquo;animer l&rsquo;espace. Il est int&eacute;ressant de noter que Heidi Wood a parl&eacute; de &laquo;&nbsp;l&rsquo;exp&eacute;rience extatique&nbsp;&raquo; comme une aspiration de son travail, l&rsquo;extase &eacute;tant aussi une condition &agrave; laquelle Theo van Doesburg et les artistes et architectes baroques aspiraient (l&agrave; o&ugrave; la rencontre spatiale est synonyme de pl&eacute;nitude et d&rsquo;exc&egrave;s).</p><p>&nbsp;</p><p>En revanche, Heidi Wood ne sollicite aucune collaboration de l&rsquo;architecte &agrave; la construction de ces nouveaux int&eacute;rieurs. Elle travaille plut&ocirc;t avec des espaces et contextes existants, comme l&rsquo;espace environnant, &agrave; l&rsquo;ext&eacute;rieur, de l&rsquo;autre c&ocirc;t&eacute; de la vitre. Elle abstrait &ndash; elle extrait &ndash; des relations avec le domestique, le familier et le d&eacute;coratif. Ainsi s&rsquo;anime un espace int&eacute;rieur qui est ici plut&ocirc;t que l&agrave;, pr&eacute;sent plut&ocirc;t que transcendantal. Cela me rappelle une photographie intitul&eacute;e &laquo;&nbsp;Wright, Meier, Klein&nbsp;&raquo; de Louise Lawler dans son essai photographique &laquo;&nbsp;Arrangement of Pictures&nbsp;&raquo;. <sup>3</sup> Comme avec les int&eacute;rieurs de Heidi Wood, il n&rsquo;existe aucune hi&eacute;rarchie entre les surfaces qui composent l&rsquo;espace (le mur architectural, le tableau, les ouvertures vers d&rsquo;autres espaces), toutes lues comme une composition abstraite de noir et blanc. Est-ce de l&rsquo;art ou une porte&nbsp;? L&rsquo;architecture ne domine pas dans ces int&eacute;rieurs. Les fronti&egrave;res sont brouill&eacute;es entre le tableau et le mur, entre l&rsquo;objet et l&rsquo;espace. Qui devient espace, qui devient mati&egrave;re, qui devient architecture, qui devient art.</p><p>&nbsp;</p><p>Cet aspect spatial cr&eacute;e un cadre diff&eacute;rent pour l&rsquo;incorporation de tableaux dans un int&eacute;rieur. Le travail de Heidi Wood a des similitudes avec le design d&rsquo;int&eacute;rieur, comme le design d&rsquo;entreprise australien des ann&eacute;es 90 o&ugrave; les designers cherchaient des tableaux assortis &agrave; la couleur de l&rsquo;int&eacute;rieur. Ou avec les espaces domestiques, o&ugrave; les tableaux sont assortis aux rideaux. Un tableau, objet portable et autonome qui peut &ecirc;tre d&eacute;plac&eacute; d&rsquo;un endroit &agrave; un autre, atteint son apog&eacute;e dans de tels projets de d&eacute;coration d&rsquo;int&eacute;rieur. Heidi Wood s&rsquo;inscrit dans cette lign&eacute;e et elle rejoue ces pratiques dans ses pr&eacute;sentations. L&rsquo;objet tableau est int&eacute;gr&eacute; et partie int&eacute;grante de la composition spatiale.</p><p>&nbsp;</p><p>De pair avec une concentration sur l&rsquo;espace r&eacute;el, une attention particuli&egrave;re est port&eacute;e &agrave; l&rsquo;image. Heidi Wood cadre ses espaces&nbsp;: physiquement dans l&rsquo;espace, l&rsquo;&oelig;uvre est cadr&eacute;e comme une s&eacute;rie de corners, les maquettes concentrent le regard sur les relations visuelles et les photographies abstraient et extraient les relations. Dans un sens, l&rsquo;appareil photo est son collaborateur, comme l&rsquo;&eacute;tait l&rsquo;architecte pour Theo van Doesburg. C&rsquo;est aussi par l&rsquo;image que le travail de Heidi Wood appara&icirc;t et est re&ccedil;u. En ce qui me concerne, c&rsquo;est de cette seule fa&ccedil;on que j&rsquo;en ai fait l&rsquo;exp&eacute;rience&nbsp;: par l&rsquo;image photographique. Ce n&rsquo;est pas une situation inhabituelle pour une Australienne. J&rsquo;ai &eacute;tudi&eacute; l&rsquo;art, l&rsquo;architecture et l&rsquo;espace au travers d&rsquo;images. Sans pour autant mettre sur le m&ecirc;me plan la rencontre avec le travail dans sa mat&eacute;rialit&eacute;, l&rsquo;un ne l&rsquo;emporte pas sur l&rsquo;autre. Diff&eacute;rentes rencontres, diff&eacute;rentes approches. Peut-&ecirc;tre Heidi Wood, qui a v&eacute;cu en Australie, le comprend-elle instinctivement. D&rsquo;o&ugrave; la double dimension de son travail, produisant &agrave; la fois l&rsquo;image et l&rsquo;exposition physique.</p><p>&nbsp;</p><p>Dans un sens, c&rsquo;est peut-&ecirc;tre l&agrave; qu&rsquo;est le nouvel int&eacute;rieur. Moins dans la forme ou la couleur que dans un espace de r&eacute;ception plut&ocirc;t que de repr&eacute;sentation. Des int&eacute;rieurs comme des espaces de r&eacute;ception, des regardeurs comme des r&eacute;cepteurs o&ugrave; &laquo;&nbsp;l&rsquo;illusion n&rsquo;est pas dans le tableau. Elle est &agrave; l&rsquo;ext&eacute;rieur.&nbsp;&raquo;<sup>4</sup></p><p>&nbsp;</p><p>Je me demande ce qu&rsquo;en penserait Theo.</p><p>&nbsp;</p><p><strong>Suzie Attiwill</strong><br>Melbourne Ao&ucirc;t 2002</p><p>&nbsp;</p><p>1: Nancy J. Troy, &laquo;&nbsp;The Abstract Environment of De Stijl&nbsp;&raquo;, in <em>De Stijl: 1917&ndash;1931. Visions of Utopia</em>, Walker Art Center, Minneapolis, New York: Abbeville Press, 1982, p. 165.</p><p>2: Theo van Doesburg, &laquo;&nbsp;Farben im Raum und Zeit&nbsp;&raquo;, in <em>De Stijl</em>, VIII, 87/89, 1928, p. 36. Sergio Polano, &laquo;&nbsp;De Stijl/Architecture = Nieuwe Beelding&nbsp;&raquo;, in<em>&nbsp;De Stijl: 1917&ndash;1931.&nbsp;</em><em>Visions of Utopia</em>, p. 92.</p><p>3: Louise Lawler, &laquo;&nbsp;Arrangements of Pictures&nbsp;&raquo;, in Michelson, A. et al (eds.) <em>October. The First Decade, 1976&ndash;1986</em>, Cambridge Massachusetts: The MIT Press, 1987, p. 220.</p><p>4: Philippe Coubetergues, &laquo;&nbsp;Tu vois le tableau ?&nbsp;&raquo;, in <em>Heidi Wood.&nbsp;</em><em>Serving Suggestions 2002</em>, Exposition &agrave; l&rsquo;I.U.F.M. de Paris, 25 mars au 13 avril 2002, note 14.</p><p>&nbsp;</p><p>Traduit de l&rsquo;anglais par Anne Lamy-Rouz&eacute;</p>',	'WE ARE IN NEED OF A NEW INTERIOR',	'SUZIE ATTIWILL',	'WE ARE IN NEED OF A NEW INTERIOR, 2002',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'we-are-in-need-of-a-new-interior-suzie-attiwill-2002',	'we-are-in-need-of-a-new-interior-suzie-attiwill-2002',	'',	'',	'2018-10-19 17:41:23',	NULL,	'2018-10-19 17:41:23',	'2023-10-30 19:27:16',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1734',	0,	'doc_article',	'doc_article',	'',	0),
(1737,	NULL,	6,	NULL,	NULL,	NULL,	3,	'2018-10-05 17:50:46',	'2018-10-05 17:50:46',	'<p>These last few years, due to the increase in the number of art centers and museums, we had almost forgotten that painting is not meant as a cultural icon alone, but that its function is also, more prosaically, to decorate the inside of our homes. Somewhere between the &ldquo;impeccably&rdquo; white walls of cultural institutions and the cramped space above the sofa in the living room, many artistic ideals have no doubt been shelved. This reality, which we often prefer to ignore, comes back like a boomerang in Heidi Wood&rsquo;s work. The artist bluntly and humorously questions the paradoxes of painting, both <em>objet d&rsquo;art</em> and consumer product. In her most recent works, entitled &ldquo;Serving Suggestions&rdquo;, she presents her paintings in indoor set-ups that comprise furniture and flooring. Displaying them as if in the showrooms of interior decoration stores, Heidi Wood gallantly plays the seduction card, showing us a possible environment for her work. Superimposing artistic and marketing strategy approaches, Heidi Wood brings about the convergence of two apparently very different views and succeeds in dismantling the machinery of a consumer system that everyone agrees is perverse (although unable to propose a better one) whilst implacably demonstrating its efficiency. &nbsp; Although of the same nature, the installations designed for the Camille Lambert Art Center do not follow the same consumer logic: with the furniture gone, the &ldquo;display area&rdquo; illusion gives way to that of the display home. The exhibition entitled &ldquo;La Maison de banlieue&rdquo; (The House in the Suburbs) brings us back to the art center&rsquo;s geographical context. Even more assertively than before, the artist transposes us to a world she possesses completely. Her works invade the walls and floor, just as the painted motifs on the canvas appear to spill out of their frames, projecting themselves outwards. This reciprocal contamination of forms and colors, answering each other in negatives, keeps alive the confusion the artist has been subtly elaborating for several years now. The marriage between architecture, art and decoration is well and truly consummated here. Stage designer of her own work, the artist uses the painted walls that accommodate her paintings to make them look their best. They are luxury caskets, which may or may not be part of the jewels. &nbsp; Demolishing the hierarchy of genres, Heidi Wood, disturbingly, makes us wonder about the &ldquo;decorative&rdquo; in painting, introducing &ldquo;basely material&rdquo; concerns into a public institution. &nbsp; <strong>Fabienne Fulch&eacute;ri&nbsp;</strong> August 2002 <em>La Maison de banlieue&nbsp;</em>catalogue Translated from French</p>',	'<p>Ces derni&egrave;res ann&eacute;es, la multiplication des centres d&rsquo;art et mus&eacute;es nous avait fait presque oublier que la peinture n&rsquo;&eacute;tait pas seulement destin&eacute;e &agrave; devenir une ic&ocirc;ne culturelle, mais qu&rsquo;elle avait &eacute;galement comme finalit&eacute; d&rsquo;orner plus prosa&iuml;quement nos int&eacute;rieurs. Entre les cimaises d&rsquo;un blanc &laquo;&nbsp;irr&eacute;prochable&nbsp;&raquo; des institutions culturelles et l&rsquo;espace exigu situ&eacute; au-dessus du canap&eacute; du salon, bien des id&eacute;aux artistiques ont sans doute &eacute;t&eacute; remis&eacute;s au placard. Cette r&eacute;alit&eacute; que l&rsquo;on pr&eacute;f&egrave;re souvent &eacute;luder revient comme un boomerang dans l&rsquo;&oelig;uvre d&rsquo;Heidi Wood. L&rsquo;artiste interroge sans d&eacute;tour et avec humour les paradoxes de la peinture, objet d&rsquo;art et de consommation &agrave; la fois. Dans ses travaux les plus r&eacute;cents, intitul&eacute;s &laquo;&nbsp;Serving Suggestions&nbsp;&raquo;, elle met en sc&egrave;ne ses tableaux dans des am&eacute;nagements int&eacute;rieurs int&eacute;grant du mobilier et des rev&ecirc;tements de sol. Pr&eacute;sent&eacute;s &agrave; la mani&egrave;re des showrooms des grands magasins de d&eacute;coration, elle joue cr&acirc;nement la carte de la s&eacute;duction en donnant &agrave; voir ce qui pourrait &ecirc;tre un possible environnement pour ses &oelig;uvres. Superposant d&eacute;marche artistique et strat&eacute;gie marketing, Heidi Wood fait converger deux visions a priori fort &eacute;loign&eacute;es, et r&eacute;ussit &agrave; d&eacute;monter les rouages d&rsquo;un syst&egrave;me consum&eacute;riste que tout le monde s&rsquo;accorde &agrave; trouver pervers sans pouvoir en proposer un meilleur, tout en d&eacute;montrant de fa&ccedil;on imparable son efficacit&eacute;.</p><p>&nbsp;</p><p>Appartenant &agrave; la m&ecirc;me lign&eacute;e, les installations con&ccedil;ues pour le centre d&rsquo;art Camille Lambert n&rsquo;ob&eacute;issent cependant pas &agrave; la m&ecirc;me logique marchande&nbsp;: le mobilier ayant disparu, l&rsquo;illusion du corner c&egrave;de la place &agrave; celle d&rsquo;un appartement t&eacute;moin. L&rsquo;exposition,&nbsp;intitul&eacute;e &laquo;&nbsp;La &nbsp;Maison de banlieue&nbsp;&raquo;, nous ram&egrave;ne au contexte g&eacute;ographique dans lequel s&rsquo;inscrit le centre d&rsquo;art. De fa&ccedil;on encore plus affirm&eacute;e qu&rsquo;auparavant, l&rsquo;artiste nous transpose dans un univers qu&rsquo;elle investit totalement. Ses &oelig;uvres envahissent les murs et les sols, de m&ecirc;me que les motifs peints sur les toiles paraissent d&eacute;border des cadres pour se projeter &agrave; l&rsquo;ext&eacute;rieur. Cette contamination r&eacute;ciproque des formes et des couleurs, qui se r&eacute;pondent en n&eacute;gatif, entretient une confusion subtilement distill&eacute;e depuis plusieurs ann&eacute;es par l&rsquo;artiste. Le mariage entre architecture, art et d&eacute;coration est ici d&eacute;finitivement consomm&eacute;. Sc&eacute;nographe de son propre travail, l&rsquo;artiste fait jouer le r&ocirc;le de faire valoir aux murs peints qui accueillent ses tableaux, &eacute;crins de luxe dont on ne sait plus s&rsquo;ils font partie de la parure ou pas. Battant en br&egrave;che la hi&eacute;rarchie des genres, Heidi Wood pose la question d&eacute;rangeante du d&eacute;coratif en peinture r&eacute;introduisant au sein d&rsquo;une structure publique des pr&eacute;occupations &laquo;&nbsp;bassement mat&eacute;rielles&nbsp;&raquo;.</p><p>&nbsp;</p><p><strong>Fabienne Fulch&eacute;ri</strong></p><p>ao&ucirc;t 2002</p><p>Catalogue <em>La maison de banlieue</em></p>',	'THE HOUSE IN THE SUBURBS',	'FABIENNE FULCHÉRI',	'THE HOUSE IN THE SUBURBS, 2002',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'the-house-in-the-suburbs-fabienne-fulcheri-2002',	'the-house-in-the-suburbs-fabienne-fulcheri-2002',	'',	'',	'2018-10-19 17:47:17',	NULL,	'2018-10-19 17:47:17',	'2023-10-30 19:27:35',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1737',	0,	'doc_article',	'doc_article',	'',	0),
(1740,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2000-10-06 09:05:34',	'2000-10-06 09:05:34',	'<p>Espace d&rsquo;art contemporain Camille Lambert, Juvisy-sur-Orge September 28 &ndash; October 26 2002 &nbsp; Isn&rsquo;t it uncomfortable to realize that the concept you have built up of a percept is markedly different from what is unanimously agreed on the subject elsewhere? We have read that beyond the paintings, Heidi Wood&rsquo;s works <em>&ldquo;propose desirable spaces&rdquo;</em> (Frank Lamy in the catalogue <em>Quotidien Aid&eacute; (les locataires),</em> Ecole sup&eacute;rieure des beaux-arts de Tours, 2001); that they <em>&ldquo;maliciously play with the status of art, magnifying the conditions of their presentation to make them more attractive&rdquo;&nbsp;</em>(Fabienne Fulch&eacute;ri, <em>le journal des arts</em> n&deg; 135, 2001); that they <em>&ldquo;remind us of forms that are strangely familiar&rdquo;</em> (Fabienne Fulch&eacute;ri again in <em>Technikart</em>, November 1999); that they are <em>&ldquo;halfway between abstract painting and decorative painting&rdquo;</em> (Emmanuelle Bine in <em>Oraos artmag</em>)&hellip; &nbsp; In the catalogue of the current exhibition entitled <em>la Maison de banlieue&nbsp;</em>(The House in the Suburbs), Suzie Attiwell pertinently touches on the question of the relation of Heidi Wood&rsquo;s work to the image. It is indeed true that the finality of some of her latest <em>Serving Suggestions&nbsp;</em>has been photographic. It is true that the application of colored materials beyond the polyptych paintings (paint directly on the wall, carpet or linoleum on the floor) functions like a frame of uncertain edges in the exhibition space, or a wide angle. It is true that, without any particular shiny, transparent or painterly quality Heidi Wood&rsquo;s dry, mat compositions of planes, which make us forget their physicality to function indifferently as dense chromatic projections on the walls and paintings (on smooth or textured canvas), can be taken for images emitted and received ephemerally, for as long as the exhibition visit lasts, or potentially perpetuated by photography. &nbsp; Clearly reactive to the spatial context of the exhibition space, these images are from elsewhere and are headed elsewhere. The speed of execution <em>in situ</em> (wall paintings, hanging of polyptychs, installation of lino, etc.) indicates that the images are just passing through. &ldquo;Desirable&rdquo;, &ldquo;seductive&rdquo;, &ldquo;familiar&rdquo;, these images are also so invasive and swift that they sidestep apprehension and place the spectator before a profound frustration. Even better, they become terrifying. We would not go so far as to envisage them as generators of the Freudian &ldquo;disturbing strangeness&rdquo;. While the forms and colors that make up Wood&rsquo;s works do resonate as if they were &ldquo;long known, long familiar&rdquo;, the terror they can produce is not necessarily due to the process of repression. Yet spending time with them indeed generates a strong sense of &ldquo;d&eacute;j&agrave;-vu&rdquo; which bounces around horribly in the inability to determine when, where and how. Works by Heidi Wood are dizzying because, in the protective context of the exhibition space and beyond their reassuring domestic references, they throw back at us the painful experience of the modern inability to apprehend a world that has become image. &nbsp; <strong>Alexandre Bohn</strong> Art Press n&deg; 285 December 2002 Translated from French</p>',	'<p>Espace d&rsquo;art contemporain Camille Lambert, Juvisy-sur-Orge<br>28 septembre &ndash;26 octobre 2002</p><p>&nbsp;</p><p>N&rsquo;est-il pas inconfortable de r&eacute;aliser que le concept que l&rsquo;on se forge d&rsquo;un percept est sensiblement d&eacute;cal&eacute; par rapport &agrave; ce qui est consensuellement exprim&eacute; &agrave; son sujet par ailleurs&nbsp;? Des &oelig;uvres de Heidi Wood, on a lu qu&rsquo;au-del&agrave; de la peinture, elles &laquo;&nbsp; proposent des espaces d&eacute;sirables&nbsp;&raquo; (Frank Lamy dans le catalogue Quotidien aid&eacute; (les locataires), Ecole sup&eacute;rieure des beaux-arts de Tours, 2001)&nbsp;; qu&rsquo;elles &laquo;&nbsp;jou(ent) avec malice avec le statut de l&rsquo;art, magnifiant les conditions de sa pr&eacute;sentation pour le rendre plus attractif&nbsp;&raquo; (Fabienne Fulch&eacute;ri, le journal des arts n&deg; 135, 2001)&nbsp;; qu&rsquo;elles &laquo;&nbsp;rappel(lent) des formes &eacute;trangement famili&egrave;res&nbsp;&raquo; (Fabienne Fulch&eacute;ri encore dans Technikart, novembre 1999)&nbsp;; qu&rsquo;elles sont &laquo;&nbsp;&agrave; mi-chemin entre peinture abstraite et peinture d&eacute;corative&nbsp;&raquo; (Emmanuelle Bine dans Oraos artmag)&hellip;</p><p>&nbsp;</p><p>Dans le catalogue de la pr&eacute;sente exposition intitul&eacute;e la Maison de banlieue, Suzie Attiwell effleure pertinemment la question du rapport de l&rsquo;&oelig;uvre de Heidi Wood &agrave; l&rsquo;image. Il est vrai, effectivement, que le devenir ultime de certaines de ses derni&egrave;res Serving Suggestions &eacute;tait photographique. Il est vrai que l&rsquo;application de mati&egrave;res color&eacute;es au-del&agrave; des tableaux polyptyques (peinture &agrave; m&ecirc;me le mur, moquette ou plastique au sol) op&egrave;re comme un cadrage &agrave; bords perdus dans la salle d&rsquo;exposition, une focalisation au large. Il est vrai que, sans qualit&eacute; particuli&egrave;re de brillance, de transparence ou de mati&egrave;re, les compositions en aplats mats et secs de Heidi Wood, faisant oublier leur mat&eacute;rialit&eacute; propre pour jouer indiff&eacute;remment comme des projections chromatiques denses sur des murs et des tableaux (toile lisse ou &agrave; motifs en relief), sont assimilables &agrave; des images &eacute;mises et re&ccedil;ues le temps &eacute;ph&eacute;m&egrave;re de la visite de l&rsquo;exposition, le temps &eacute;ventuellement p&eacute;rennis&eacute; de la photographie.</p><p>&nbsp;</p><p>Certes r&eacute;actives au contexte spatial du lieu d&rsquo;exposition, ces images sont d&rsquo;ailleurs et vont ailleurs. La rapidit&eacute; de l&rsquo;ex&eacute;cution sur place (peintures murales, accrochage des polyptyques, pose des rev&ecirc;tements de sol) t&eacute;moigne de ce transit des images et de la fonction essentiellement v&eacute;hiculaire du lieu. &laquo;&nbsp;D&eacute;sirables&nbsp;&raquo;, &laquo;&nbsp;s&eacute;duisantes&nbsp;&raquo;, &laquo;&nbsp;famili&egrave;res&nbsp;&raquo;, ces images sont aussi tellement envahissantes et promptes qu&rsquo;elles esquivent l&rsquo;appr&eacute;hension et placent le spectateur face &agrave; sa profonde frustration. Mieux, elles en deviennent effrayantes. Nous n&rsquo;irons pas jusqu&rsquo;&agrave; les envisager comme g&eacute;n&eacute;ratrices de &laquo;&nbsp;l&rsquo;inqui&eacute;tante &eacute;tranget&eacute;&nbsp;&raquo; freudienne &ndash; car si les formes et couleurs constitutives des &oelig;uvres de Heidi Wood r&eacute;sonnent bien comme du &laquo;&nbsp;depuis longtemps connu, depuis longtemps familier&nbsp;&raquo;, l&rsquo;effroi qu&rsquo;elles peuvent produire n&rsquo;est pas forc&eacute;ment redevable du processus du refoulement. Leur fr&eacute;quentation, cependant, g&eacute;n&egrave;re bien un fort sentiment de &laquo;&nbsp;d&eacute;j&agrave;-vu&nbsp;&raquo; qui s&rsquo;ab&icirc;me effroyablement dans celui de l&rsquo;impuissance &agrave; d&eacute;terminer o&ugrave;, quand et comment. Les &oelig;uvres de Wood sont vertigineuses car, dans le contexte protecteur de la salle et au-del&agrave; de leurs rassurantes &eacute;vocations domestiques, elles nous renvoient subrepticement &agrave; notre douloureuse exp&eacute;rience de l&rsquo;incapacit&eacute; moderne &agrave; saisir un monde devenu image.</p><p>&nbsp;</p><p><strong>Alexandre Bohn</strong><br>Art Press n&deg; 285<br>D&eacute;cembre 2002</p>',	'HEIDI WOOD, La Maison de banlieue',	'ALEXANDRE BOHN',	'ART PRESS, 2002',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'alexandre-bohn-art-press-2002',	'alexandre-bohn-art-press-2002',	'',	'',	'2021-06-29 12:08:45',	NULL,	'2021-06-29 12:08:45',	'2023-10-30 19:28:11',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1740',	0,	'doc_article',	'doc_article',	'',	0),
(1743,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:10:56',	'2018-09-11 09:10:56',	'<p><strong>Espace d&rsquo;art contemporain Camille Lambert, Juvisy</strong> Heidi Wood is an artist who was born in London in 1967 and lives in Paris. She is currently exhibiting her work at the <em>Espace d&rsquo;art contemporain Camille Lambert&nbsp;</em>in Juvisy. Her <em>Serving Suggestions</em> are literally paintings combined with suggested accompaniments. In other words, Heidi Wood does not stop at the paintings. She suggests decorative arrangements that integrate them. Her work must thus be seen on two levels: both as painted canvases that function most often in diptychs or triptychs, and as suggested environments, sometimes on the wall, spreading over the corner of a room, or even onto the floor. &nbsp; Each part of a polyptych can be described as a generally non-figurative motif on a colored background. These motifs, thus isolated, function as signs that, when brought together evoke a means of signaling, or a new type of language that is not altogether unfamiliar. These perfectly elementary motifs remind us of the many pictograms that inform our urban and mercantile environment. Furthermore, the smooth aspect of the planes of color, the contrasted contours, the precisely stabilized play on forms and counter forms, the finely-tuned proportions between positives and negatives sets up an immediate kinship with these systems of codes, reputed for their readability, such as road signs, or signs in department stores. &nbsp; These short series of juxtaposed motifs thus form strange puzzles with uncertain and laconic meanings. This is no doubt the reason Heidi Wood gives each of her works a subtitle in the systematic form of an expression in English: a proverb supposed to be univocal, that expresses common sense in a few words but is often more complex than is widely believed. &nbsp; The suggested decorative environment has significantly evolved since the exhibition at <em>galerie &eacute;of</em> in Paris in 2001. In displays like those in furniture stores (mostly carpeted and furnished in a <em>seventies revival</em> manner) where her paintings were perfectly at home in an ironic relation of mutual promotion, Heidi Wood&rsquo;s environments have become more streamlined, more essential. The second change in her work is what she described as a &ldquo;spillover&rdquo; of the motif onto the wall. The vertical support to the paintings is treated in a similar manner to the paintings themselves, i.e. covered in a motif formally reminiscent of, without reproducing exactly one of the motifs in the polyptych. This contamination of the motif into its surrounds sometimes reaches the floor, which is covered in a form cut out of either carpet or linoleum. &nbsp; Thus the five &ldquo;installations of paintings&rdquo; Heidi Wood has created for the <em>Espace d&rsquo;art contemporain Camille Lambert&nbsp;</em>transform the space so completely that they seem to be a coherent whole. In each room the cleverly calculated plastic and esthetic relations are like those inside the polyptychs. The unity of the whole was even conceived as a housing unit, as evidenced by the choice of <em>La Maison de banlieue</em> (The House in the Suburbs) as title. &nbsp; Spectators visiting this &ldquo;display home&rdquo; primarily witness the artist&rsquo;s exploration over many years of the relation of painting with its domestic and decorative environment. They will realize the minute they walk in the door that they are in fact penetrating the painting, are wandering in the heart of a confusing game, even though it is &ldquo;disillusionist&rdquo; (Heidi Wood&rsquo;s paintings are the contrary to <em>trompe-l&rsquo;&oelig;il</em>); a system of coordinated relations of colors, textures, lines, forms and motifs. They may enjoy imagining how the painting / architecture dialectic is still worthy today of being considered more carefully by those who design the settings of our daily lives. &nbsp; The parallelepipedic space of the art center is thus transfigured in an approach that it would be instructive to place in the historical perspective of painted decor; that it would be useful to confront with those of the Vatican stanze, interior design of the 16<sup>th</sup> century in France, Sol Lewit&rsquo;s drawing rooms or Theo van Doesburg&rsquo;s audacious projects that attempted to inverse the conventional subordination of painting to architecture. &nbsp; In other words, Heidi Wood&rsquo;s five suggestions come together in a pertinent and malicious resum&eacute; of the many advantages to be found in thinking of space in the same way as in a painting. &nbsp; <strong>Philippe Coubetergues</strong> paris&ndash;art.com June 2002 Translated from French &nbsp;</p>',	'<p><strong>Espace d&rsquo;art contemporain Camille Lambert de Juvisy</strong></p><p>Heidi Wood est une artiste n&eacute;e &agrave; Londres en 1967 et vivant &agrave; Paris. Elle expose actuellement son travail dans l&rsquo;espace Camille Lambert de Juvisy. Ses <em>Serving Suggestions</em> sont litt&eacute;ralement des tableaux assortis de propositions d&rsquo;accompagnement. En d&rsquo;autres termes, Heidi Wood ne s&rsquo;arr&ecirc;te pas au tableau, elle sugg&egrave;re des arrangements d&eacute;coratifs les int&eacute;grant. Il convient donc d&rsquo;appr&eacute;hender son &oelig;uvre &agrave; deux niveaux&nbsp;: d&rsquo;une part celui des toiles peintes qui fonctionnent le plus souvent en diptyques ou triptyques, d&rsquo;autres part celui de l&rsquo;environnement sugg&eacute;r&eacute;, parfois cantonn&eacute; au mur, ou s&rsquo;&eacute;tendant &agrave; l&rsquo;angle d&rsquo;une pi&egrave;ce, voire au sol.</p><p>&nbsp;</p><p>Chaque volet d&rsquo;un polyptyque se r&eacute;sume pour l&rsquo;essentiel en un motif g&eacute;n&eacute;ralement non figuratif sur fond color&eacute;. Ces motifs ainsi isol&eacute;s fonctionnent comme des signes qui associ&eacute;s entre eux &eacute;voquent une signal&eacute;tique, un langage d&rsquo;un genre nouveau sans pour autant nous &ecirc;tre totalement &eacute;tranger. Ces motifs si parfaitement &eacute;l&eacute;mentaires &eacute;voquent en effet les multiples pictogrammes qui informent notre environnement urbain et mercantile. Par ailleurs, la facture liss&eacute;e de la couleur trait&eacute;e en aplats, la d&eacute;coupe contrast&eacute;e des contours, le jeu si pr&eacute;cis&eacute;ment stabilis&eacute; des formes et des contre-formes, le rapport si justement proportionn&eacute; des pleins et des vides instaurent une parent&eacute; imm&eacute;diate avec ces syst&egrave;mes de codes, r&eacute;put&eacute;s pour leur lisibilit&eacute; tels que la signalisation routi&egrave;re ou les panneaux indicateurs des rayons de grands magasins.</p><p>&nbsp;</p><p>Ces courtes s&eacute;ries de motifs juxtapos&eacute;s forment ainsi des r&eacute;bus insolites dont la signification serait aussi incertaine que laconique. C&rsquo;est sans doute la raison pour laquelle Heidi Wood donne &agrave; chacune de ses &oelig;uvres un sous-titre sous la forme syst&eacute;matique d&rsquo;une expression anglaise, un proverbe suppos&eacute; univoque, exprimant en quelques mots le bon sens populaire mais souvent plus complexes que ce qu&rsquo;ils laissent commun&eacute;ment entendre.</p><p>&nbsp;</p><p>L&rsquo;environnement d&eacute;coratif sugg&eacute;r&eacute; a significativement &eacute;volu&eacute; depuis l&rsquo;exposition de la galerie &eacute;of &agrave; Paris, en 2001. D&rsquo;un agencement type <em>corner</em> de grand magasin (espace le plus souvent moquett&eacute;, tapiss&eacute; et meubl&eacute; fa&ccedil;on <em>seventies revival</em>) o&ugrave; ses tableaux trouvaient parfaitement leur place dans un rapport ironique de mutuelle promotion, les environnements d&rsquo;Heidi Wood sont pass&eacute;s &agrave; des espaces plus &eacute;pur&eacute;s, plus essentiels. Par ailleurs, la seconde &eacute;volution de son travail tient &agrave; ce qu&rsquo;elle pr&eacute;sente comme un &laquo;&nbsp;d&eacute;bordement&nbsp;&raquo; du motif sur le mur. En effet, la paroi verticale qui sert de fond aux tableaux est trait&eacute;e d&rsquo;une fa&ccedil;on comparable aux tableaux eux-m&ecirc;mes, &agrave; savoir recouverte d&rsquo;un motif qui rappelle formellement sans le reproduire un des motifs du polyptyque. Cette contamination du motif &agrave; l&rsquo;espace environnant atteint parfois le sol qui se trouve selon les cas recouvert d&rsquo;un motif d&eacute;coup&eacute; de moquette ou de lino.</p><p>&nbsp;</p><p>C&rsquo;est ainsi que les cinq &laquo;&nbsp;installations de tableaux&nbsp;&raquo; imagin&eacute;es par Heidi Wood pour le Centre d&rsquo;art Camille Lambert transforment le lieu de fa&ccedil;on d&eacute;terminante au point d&rsquo;appara&icirc;tre comme un ensemble coh&eacute;rent o&ugrave; s&rsquo;instaurent entre chaque pi&egrave;ce des relations plastiques et esth&eacute;tiques savamment calcul&eacute;es &agrave; l&rsquo;instar des relations internes aux polyptyques. Cette unit&eacute; de l&rsquo;ensemble fut m&ecirc;me con&ccedil;ue comme une unit&eacute; d&rsquo;habitation puisque l&rsquo;artiste a choisi &laquo;&nbsp;La Maison de banlieue&nbsp;&raquo; comme titre pour son exposition.</p><p>&nbsp;</p><p>Le visiteur abordant la visite de cet &laquo;&nbsp;appartement t&eacute;moin&nbsp;&raquo;, t&eacute;moin principalement de la r&eacute;flexion que l&rsquo;artiste a engag&eacute; depuis plusieurs ann&eacute;es sur le rapport de la peinture &agrave; son environnement domestique et d&eacute;coratif, prendra conscience, d&eacute;s l&rsquo;entr&eacute;e, qu&rsquo;il p&eacute;n&egrave;tre en fait dans le tableau, qu&rsquo;il d&eacute;ambule au c&oelig;ur d&rsquo;un jeu confondant bien que &laquo;&nbsp;d&eacute;sillusionniste&nbsp;&raquo; (la peinture d&rsquo;Heidi Wood est le contraire d&rsquo;un trompe-l&rsquo;&oelig;il), un syst&egrave;me de rapports coordonn&eacute;s fait de couleurs, de textures, de lignes, de formes et de motifs. Il se plaira peut-&ecirc;tre &agrave; imaginer comment le dialectique peinture / architecture m&eacute;riterait encore de nos jours, d&rsquo;&ecirc;tre mieux prise en compte par ceux qui se chargent de concevoir le d&eacute;cor de nos vie quotidienne.</p><p>&nbsp;</p><p>Car l&rsquo;espace parall&eacute;l&eacute;pip&eacute;dique du Centre d&rsquo;art ainsi transfigur&eacute; dans une approche qu&rsquo;il serait instructif placer dans la perspective historique du d&eacute;cor peint, confront&eacute;e aux <em>stanze</em> vaticanes, aux am&eacute;nagements d&eacute;coratifs du XVI&egrave;me si&egrave;cle fran&ccedil;ais, aux <em>drawing rooms</em> de Sol LeWitt ou aux audacieux projets de Th&eacute;o van Doesburg qui tentait d&rsquo;inverser le rapport conventionnel de subordination peinture / architecture.</p><p>&nbsp;</p><p>Autrement dit, les cinq suggestions d&rsquo;Heidi Wood s&rsquo;unissent en une synth&egrave;se &agrave; la fois juste et malicieuse des nombreux avantages qu&rsquo;il aurait &agrave; penser l&rsquo;espace &agrave; l&rsquo;image de la peinture.</p><p>&nbsp;</p><p><strong>Philippe Coubetergues</strong></p><p>paris&ndash;art.com</p><p>septembre 2002</p>',	'La maison de banlieue (The House in the Suburbs)',	'PHILIPPE COUBETERGUES',	'PARIS-ART.COM, 2002',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'philippe-coubetergues-paris-art-com-2002',	'philippe-coubetergues-paris-art-com-2002',	'',	'',	'2018-10-19 12:49:50',	NULL,	'2018-10-19 12:49:50',	'2023-10-30 19:28:37',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1743',	0,	'doc_article',	'doc_article',	'',	0),
(1747,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:15:24',	'2018-09-11 09:15:24',	'<p>4 June &mdash; 12 July 2003 &nbsp; Galerie Anne Barrault is currently showing a solo exhibition by Heidi Wood. A total of eight digital photographs are presented as the fruit of a specific study of a place. Let us remember that Heidi Wood is a painter. Her paintings contain simple forms in contrasting colors. These forms come from a vocabulary of signs that is both secret and familiar. They seem diverted from a readable register whilst retaining an unaltered signaling power. Sometimes brought together in polyptychs, the paintings, like sentences, introduce striking yet indecipherable significations. This coded information should be seen in relation to the environments that receive them. This is why Heidi Wood is exhibiting photographs this time. They are records or statements of the fleeting installations that preceded this exhibition. It will become clear that these photographs are also conceived like the paintings. The place where the paintings were hung and photographed is itself fairly improbable. It is an old amusement park called the <em>Plan&egrave;te Magique</em> situated in the heart of Paris in an old theater. This theme park was created in the 1980s but for safety reasons, never really operated. The decor has remained intact. Before it is transformed once again, the artist chose the site to make a series of photos of her paintings in situation. &nbsp; It may be more accurate to speak of <em>mises en sc&egrave;ne</em>. The artist entitles them <em>Serving Suggestions</em>. They are propositions for presenting or hanging. It is evident that these suggestions are based on formal and chromatic parallels. A given architectural curve is reflected in the outline of a shape; a particular color finds its equivalent or complementary in the painting, etc. The paintings can be made for the occasion, or partly adapted. They can also belong to the artist&rsquo;s &ldquo;personal collection&rdquo; that exists before the project and gradually comes together as a Codex, a system of constantly reusable signs. But in truth, the calculated layout of these encounters between painting and place, the careful interactions with the decor and the impeccable hangings signals something else. Set in the square composition of the touched up photographs, these shopfront window-style ideal interiors soon reveal their artificial and derisory angle, their banal and fleeting aspect. In the end, these images stand out as decorative vanities where the reciprocal game of enhancing painting and place is the setting for a portrait of the absent user. In the slick reflection of these &ldquo;seductive&rdquo; photographs sandwiched under Plexiglas, it is highly likely that the visitor will recognize him/herself. &nbsp; These photographs are paintings in two ways: because of their origin (the paintings that are presented) as well as their genesis and elaboration (each element in the image functions above all esthetically, lines, colors, textures, etc.) The visual quality of the photographs is pushed to the point where the images become almost abstract, despite a clearly figurative dimension. They are abstract in the conceptual, fabricated, artificial sense as well as in their stylistic proximity to geometric abstraction. In Heidi Wood&rsquo;s painting, there is a sense of nostalgia for the utopias of space on which abstraction of the 1920s and 30s was founded. &nbsp; Yet this idea of an abstraction of the decor, this &ldquo;abstract ambiance&rdquo; of perfectly &ldquo;designed&rdquo; architecture, this rigorous geometry of flat spaces and perspectives is seen from the subversive angle of Pop stylishness. Before our very eyes, the marvelous world of &ldquo;Heidiland&rdquo; appears, where on a magic planet the borders between painting and reality are abolished. Welcome to the pretty world of Heidi Wood in Wonderland. &nbsp; <strong>Philippe Coubetergues, June&nbsp;</strong>2003 For paris-art.com Translated from French</p>',	'<p>Galerie Anne Barrault, Paris<br>04 juin - 12 juillet 2003</p><p>&nbsp;</p><p>La galerie Anne Barrault propose actuellement une exposition personnelle d&#39;Heidi Wood. Ce sont au total huit tirages photographiques num&eacute;riques qui se pr&eacute;sentent comme le fruit d&#39;un travail sp&eacute;cifique sur un lieu.<br>Rappelons qu&#39;Heidi Wood est peintre. Ses tableaux accueillent des formes simples dans une gamme contrast&eacute;e. Ces motifs rel&egrave;vent d&#39;une signal&eacute;tique &agrave; la fois secr&egrave;te et famili&egrave;re qui semble d&eacute;tourn&eacute;e d&#39;un registre lisible tout en conservant une puissance d&#39;indication inalt&eacute;r&eacute;e. Parfois associ&eacute;s en polyptyques, les tableaux encha&icirc;n&eacute;s en syntagmes instaurent des significations criantes bien qu&#39;ind&eacute;chiffrables. Ces indications crypt&eacute;es sont &agrave; mettre en relation avec les environnements qui les accueillent.<br>C&#39;est pour cette raison qu&#39;Heidi Wood expose cette fois-ci des photographies. Elles s&#39;imposent comme des constats, r&eacute;alis&eacute;s lors d&#39;un accrochage situ&eacute; en amont de cette exposition. Nous verrons que ces photographies sont &eacute;galement con&ccedil;ues comme des tableaux. Le lieu d&#39;accrochage, o&ugrave; ses tableaux ont &eacute;t&eacute; photographi&eacute;s, est par lui-m&ecirc;me assez improbable. Il s&#39;agit d&#39;un ancien parc d&#39;attraction dit &quot;Plan&egrave;te magique,&quot; situ&eacute; en plein coeur de Paris dans un ancien th&eacute;&acirc;tre : la Ga&iuml;t&eacute;-Lyrique.<br>Ce lieu de distraction avait &eacute;t&eacute; am&eacute;nag&eacute; dans les ann&eacute;es 1980 mais pour des probl&egrave;mes de s&eacute;curit&eacute;, il n&#39;a jamais v&eacute;ritablement fonctionn&eacute;. Le d&eacute;cor est donc rest&eacute; intact depuis. Avant qu&#39;il ne soit transform&eacute; &agrave; nouveau, l&#39;artiste a choisi cet espace pour faire r&eacute;aliser quelques photographies de mises en situations de ses tableaux.</p><p>&nbsp;</p><p>A justement parler, nous devrions dire &quot;mise en sc&egrave;ne.&quot; L&#39;artiste les intitule Serving Suggestions. Ce sont des propositions d&#39;accompagnement ou d&#39;accrochage. Il n&#39;&eacute;chappera &agrave; personne que ces suggestions se fondent sur des rapprochements formels et chromatiques. Telle courbe de l&#39;architecture se retrouvera dans le contour dessin&eacute; du motif ; telle teinte trouvera son &eacute;quivalent ou sa compl&eacute;mentaire dans le tableau, etc.<br>Les tableaux peuvent &ecirc;tre peints pour l&#39;occasion, ou partiellement adapt&eacute;s ; il peuvent &eacute;galement appartenir &agrave; la &quot;collection personnelle&quot; de l&#39;artiste qui pr&eacute;existe au projet et qui se constitue peu &agrave; peu comme un v&eacute;ritable codex, un syst&egrave;me de signes r&eacute;-exploitables en permanence. Mais en v&eacute;rit&eacute;, les dispositions calcul&eacute;es de ces rencontres entre l&#39;oeuvre et le lieu, ces petits arrangements avec le d&eacute;cor, ces accrochages tir&eacute;s &agrave; quatre &eacute;pingles, nous signalent autre chose. Fix&eacute;s dans la composition carr&eacute;e de la photographie retouch&eacute;e, ces id&eacute;als d&#39;int&eacute;rieurs fa&ccedil;on vitrine de magasin se r&eacute;v&eacute;lent rapidement sous l&#39;angle du factice et du d&eacute;risoire, du banal et du passager.<br>Ces images s&#39;affirment au final comme des sortes de vanit&eacute;s d&eacute;coratives au sein desquelles le jeu r&eacute;ciproque de mise en valeur entre le lieu et tableau dresse le portrait de l&#39;usager absent. Dans le reflet liss&eacute; des ces tirages &quot;s&eacute;ductifs&quot; contre coll&eacute;s sous plexiglas, il y a fort &agrave; parier que plus d&#39;un visiteur se reconna&icirc;tra.</p><p>&nbsp;</p><p>Ces photographies sont des tableaux &agrave; deux titres : celui de leur origine (se sont des peintures mises en sc&egrave;ne), mais aussi celui de leur gen&egrave;se, de leur &eacute;laboration (chaque &eacute;l&eacute;ment pr&eacute;sent &agrave; l&#39;image fonctionne avant tout comme un &eacute;l&eacute;ment plastique, les lignes, les couleurs, les textures, etc.). Cette qualit&eacute; picturale des photos est forc&eacute;e au point d&#39;en faire des images presque abstraites et ceci malgr&eacute; une dimension figurative clairement affich&eacute;e. Abstraites dans le sens de conceptuelles, fabriqu&eacute;es, pens&eacute;es, factices mais aussi dans la proximit&eacute; stylistique qu&#39;elles entretiennent avec l&#39;abstraction g&eacute;om&eacute;trique. Il y a dans la peinture d&#39;Heidi Wood une certaine nostalgie de ces utopies de l&#39;espace sur lesquelles se fond&egrave;rent les abstractions des ann&eacute;es 1920 et 1930.</p><p>&nbsp;</p><p>Mais cette id&eacute;e d&#39;une abstraction du d&eacute;cor, cette &quot;ambiance abstraite&quot; d&#39;une architecture parfaitement &quot;design&quot;, cette g&eacute;om&eacute;trie rigoureuse des espaces plans et perspectifs est vue sous l&#39;angle subversif de la coquetterie pop. Se dressent en fait sous nos yeux le monde merveilleux &quot;d&#39;Heidiland,&quot; celui d&#39;une plan&egrave;te magique o&ugrave; s&#39;abolit la fronti&egrave;re entre la peinture et le r&eacute;el. Bienvenue dans le joli monde d&#39;Heidi Wood au pays des merveilles.</p><p>&nbsp;</p><p><strong>Philippe Coubetergues</strong>, juin 2003</p><p>paris-art.com</p>',	'HEIDI WOOD on the Magic Planet',	'PHILIPPE COUBETERGUES',	'PARIS-ART.COM, 2003',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'philippe-coubetergues-paris-art-com-2003',	'philippe-coubetergues-paris-art-com-2003',	'',	'',	'2020-06-15 10:26:54',	NULL,	'2020-06-15 10:26:54',	'2023-10-30 19:29:03',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1747',	0,	'doc_article',	'doc_article',	'',	0),
(1750,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:20:32',	'2018-09-11 09:20:32',	'<p><em>Galerie Anne Barrault</em><em>3 June &ndash; 12 July 2003</em> &nbsp; For her first solo show at the Anne Barrault Gallery, Heidi Wood went to the <em>Plan&egrave;te Magique</em>, a long abandoned amusement park set up in the former Ga&icirc;t&eacute; Lyrique Theater. After starting out as a painter, for several years now this artist has been exploring the conjunctions between art and decoration through the subtle interplay of her paintings and the environment in which they are represented in her photos. She photographs her canvases in various kinds of settings. As she likes to put it, the photos are &ldquo;spin-offs&rdquo; of her core project, painting. &nbsp; Wood puts her canvases in places that are often stereotyped, like the displays in home decoration shows, whose clean and cold catalogue aesthetics she explicitly strives to emulate. This frozen atmosphere emphasizes the composition, whose assortment of elements with each other seem just right and go with each other perfectly, whether the canvases hung on large-motif wallpaper above the Formica furniture of a suburban middle class household of the 1970s in <em>La maison de banlieue&nbsp;</em>(The House in the Suburbs), or the canvases arranged into a pattern transforming the Cristal Union production facility. &nbsp; Each of these works is presented as a <em>Serving Suggestion</em>, a visual strategy that seeks to socialize her art by inserting it into a domestic habitat. Always presented in a particular environment, the <em>raison d&rsquo;&ecirc;tre</em> of these paintings (often in series of two or three) is to blend into the background and become a suitable part of a well-mannered ensemble. Wood herself plays with the apparent conformism of her painting by systematically using forms so simplified they are practically pictograms or urban signage. &nbsp; In this new work served up in the ruins of an attraction park, the flat-colored canvases conceived to fit into this place integrate themselves into it rather than melting into it. From the color of the stairs to the wall molding, and from the no-smoking sign to the carpet, each of Wood&rsquo;s geometric canvases is in formal accord with a prematurely aged 1980s decorum. This ghostly magic put together with the logical application of conventional taste results in a transformation and these disparate rooms in the end attain a certain magnificence. Wood photographs the symphony &ndash; in other words, what she shows us could be one note, one color, understood as intention and orchestration. &nbsp; <strong>Raya Baudinet</strong> Translation, L-S Torgoff <em>art press</em> n&deg; 292, July-August 2003, p. 78 &nbsp;</p>',	'<p><em>Galerie Anne Barrault</em></p><p><em>3 juin &ndash; 12 juillet 2003</em></p><p>&nbsp;</p><p>Pour sa premi&egrave;re exposition personnelle &agrave; la galerie Anne Barrault, Heidi Wood a investi la Plan&egrave;te Magique, un parc d&rsquo;attraction depuis longtemps &agrave; l&rsquo;abandon install&eacute; dans l&rsquo;ancien th&eacute;&acirc;tre de la Ga&icirc;t&eacute; Lyrique. D&rsquo;abord peintre, cette plasticienne explore depuis quelques ann&eacute;es les points de jonction entre art et d&eacute;coration par un jeu subtil de mise en ab&icirc;me de son &oelig;uvre peinte qu&rsquo;elle s&rsquo;emploie &agrave; repr&eacute;senter doublement par des prises de vues de ses tableaux en situation. Ces photographies &eacute;tant, selon l&rsquo;artiste, des produits d&eacute;riv&eacute;s de la peinture.</p><p>&nbsp;</p><p>Dans des lieux souvent st&eacute;r&eacute;otyp&eacute;s, &agrave; la mani&egrave;re des <em>corners</em> de salon d&rsquo;ameublement, Heidi Wood place ses toiles et revendique explicitement cette ligne claire et glac&eacute;e des catalogues de d&eacute;coration int&eacute;rieure. Une atmosph&egrave;re fig&eacute;e o&ugrave; pr&eacute;vaut la composition comprise comme un assortiment d&rsquo;&eacute;l&eacute;ments composites qui sonnent juste et s&rsquo;ajustent les uns aux autres selon une parfaite convenance&nbsp;: soit que les tableaux en surplomb de meubles en formica sur le p&eacute;pier peint &agrave; larges motifs habillent un int&eacute;rieur bourgeois des ann&eacute;es 1970 &ndash; <em>la Maison de banlieue</em> -, soit que les toiles dispos&eacute;es &agrave; dessein transforment l&rsquo;allure du site de production de Cristal Union.</p><p>&nbsp;</p><p>A chaque fois, il s&rsquo;agit de <em>Serving Suggestions</em>, de propositions d&rsquo;accompagnement, c&rsquo;est &agrave; dire d&rsquo;une strat&eacute;gie plastique qui vise &agrave; socialiser les &oelig;uvres via un habitacle domestique ou un environnement. Toujours in situ, la raison d&rsquo;&ecirc;tre des toiles, qui vont souvent par s&eacute;rie de deux ou trois, est de se fondre dans le d&eacute;cor comme la partie idoine de la biens&eacute;ance de l&rsquo;ensemble.</p><p>&nbsp;</p><p>Heidi Wood joue elle-m&ecirc;me de cette conformit&eacute; apparente dans sa peinture, puisqu&rsquo;elle figure toujours des formes simplifi&eacute;es &agrave; l&rsquo;extr&ecirc;me, proches des pictogrammes et de la signal&eacute;tique urbaine.</p><p>&nbsp;</p><p>Dans cette nouvelle proposition d&rsquo;accompagnement dans les vestiges de la Plan&egrave;te magique, ses toiles aux couleurs plates, con&ccedil;ues en fonction du lieu, s&rsquo;int&egrave;gre aux site plus qu&rsquo;elles ne se confondent avec lui. De la couleur de la rampe aux plinthes des murs, du macaron d&rsquo;interdiction de fumer &agrave; la moquette au sol, chacun des tableaux g&eacute;om&eacute;triques d&rsquo;Heidi Wood formalise un arrangement avec un d&eacute;corum ann&eacute;es 1980 pr&eacute;matur&eacute;ment vieilli. Ce fant&ocirc;me de f&eacute;erie ainsi compil&eacute; avec l&rsquo;application logique de la convenance se transforme, et ces salles d&eacute;pareill&eacute;es retrouvent un semblent de magnificence. C&rsquo;est la symphonie que photographie Heidi Wood. En d&rsquo;autres termes, ce qu&rsquo;elle montre pourrait &ecirc;tre une tonalit&eacute;, une couleur, comprise comme intention et orchestration.</p><p>&nbsp;</p><p><strong>Raya Baudinet</strong>, 2003</p><p>art press n&deg; 292</p>',	'HEIDI WOOD at the Magic Planet',	'RAYA BAUDINET',	'ART PRESS, 2003',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'raya-baudinet-art-press-2003',	'raya-baudinet-art-press-2003',	'',	'',	'2018-10-19 12:49:08',	NULL,	'2018-10-19 12:49:08',	'2023-10-30 19:29:38',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1750',	0,	'doc_article',	'doc_article',	'',	0),
(1753,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:40:05',	'2018-09-11 09:40:05',	'<p>Galerie Anne Barrault, Paris September 10 - October 22 2005 &nbsp; During a residency in Los Angeles, Heidi Wood found herself confronted with a stream of advertising images within the urban environment and industrialized entertainment characteristic of the megalopolis. Based on this experience, she continued to develop a practice grounded in an analysis of market forces applied to artworks. The exhibition at the Galerie Anne Barrault offers us a sample. &nbsp; As far back as 2001, Heidi Wood created domestic environments into which she integrated her paintings. The image thus produced was reminiscent of contemporary furniture catalogues with the paintings presented as objects for sale. The photographic series &ldquo;Los Angeles&rdquo; presented at the Galerie Anne Barrault also uses this principle, but this time the environment is not artificial. The operational mode is that of insertion. &nbsp; In the photographs of urban landscapes of the American megalopolis, Heidi Wood montages fictional paintings over billboards. The paintings pick up on the esthetic of logos that the city is saturated with, whilst introducing visual blanks due to their purely abstract nature. Inside the image of the urban landscape, the abundance of advertising messages is thus undermined on a visual level. Within the space of the artwork, the arbitrary addition to the photographs of advertising slogans taken from TV ads highlights deconstruction at another level; that of their meanings. Texts and images cohabit without dialoguing in a pure and apparently gratuitous visual space. &nbsp; This utopia of a public space given over to art is soon swept away by the reality of the support chosen: the billboard. In line with the parasitical character of advertising, the photographs in the current exhibition are the size of a flyer. In 2004, in Los Angeles, they were even sent out as spams. &nbsp; In this way, the artwork enters the commercial system via promotion. Yet what the images from the &ldquo;Los Angeles&rdquo; series are promoting is completely virtual. The paintings do not, in fact, exist, unlike those of her preceding series. From this dematerialization, however, a declension of forms develops, and this time they take on a physical existence. The virtual artwork, demoted to the status of nuisance by the promotional system, becomes object once again thanks to an interpretation borrowed from the applied arts. The exhibition becomes a showroom. &nbsp; The fictional paintings inserted in the photographs are conjugated as wallpapers on the three walls at the back of the gallery. The visual signs thus become decorative motifs, either unique or repeated. The production of these wallpapers using A4 photocopies placed side by side, while stressing the serial nature of cheap wallpapers, takes the appropriation of industrial production methods to its logical conclusion. Using procedures borrowed from industry, Heidi Wood&rsquo;s art applies itself methodically to objects produced by the commercial system. &nbsp; And when she hangs a series of six paintings entitled &ldquo;California Dreaming&rdquo;, there is no question of nostalgia or revival, in returning to what tradition holds as the noble art of painting. The stretched canvas is none other than upholstery fabric whose texture is readable under the paint. Almost redundant, the painting reproduces the logos invented by the artist, with purely decorative intent. The texts that accompany them function in the same way as those in the &ldquo;Los Angeles&rdquo; series, i.e. they do not dialogue with the image. Anecdotes collected by Heidi Wood during her stay in the Californian megalopolis, these brief tales serve as embellishments, as befitting decoration. Ephemeral and pleasant. &nbsp; To complete this system of production and distribution, Heidi Wood cheerfully reveals her plan to publish a mail-order catalogue based on a sample of what is offered in this exhibition-showroom. It will soon be possible to choose a motif among those created, as well as the color and the medium (wallpaper, painting, etc.). Although she models the art world on the free market economy, she nonetheless retains a critical distance, as indicated by a megalomaniacal gesture in a small photograph at the back of the gallery. In this image, &ldquo;Heidi&rdquo; ironically replaces the &ldquo;Holly&rdquo; of the Hollywood sign. &ldquo;Heidiwood&rdquo; is an industrial art microsystem. The undertaking as a whole mercilessly questions the value and survival of art in the neo-Liberal era. &nbsp; <strong>Perin-Emel Yavuz,&nbsp;</strong>September 2005 paris-art.com Translated from French</p>',	'<p>HEIDI WOOD, <strong>Los Angeles</strong></p><p>Galerie Anne Barrault, Paris</p><p>10 septembre - 22 octobre 2005</p><p>&nbsp;</p><p>Lors d&rsquo;une r&eacute;sidence &agrave; Los Angeles, Heidi Wood se trouve confront&eacute;e au flot d&rsquo;images publicitaires qui assaillent l&rsquo;espace urbain et au divertissement industrialis&eacute; caract&eacute;ristique de la m&eacute;galopole. &Agrave; partir de cette exp&eacute;rience, elle poursuit et approfondit un travail fond&eacute; sur l&rsquo;analyse du syst&egrave;me marchand par son application &agrave; l&rsquo;&oelig;uvre d&rsquo;art. L&rsquo;exposition de la galerie Anne Barrault nous en offre un <em>&eacute;chantillonnage</em>.</p><p>&nbsp;</p><p>En 2001 d&eacute;j&agrave;, Heidi Wood cr&eacute;ait des environnements int&eacute;rieurs dans lesquels elle int&eacute;grait ses peintures. L&rsquo;image ainsi produite rappelait celles des catalogues de mobilier contemporain dont la peinture mise en sc&egrave;ne appara&icirc;t comme l&rsquo;un des objets offerts &agrave; la vente. La s&eacute;rie de photographies &laquo;Los Angeles&nbsp;&raquo; pr&eacute;sent&eacute;e &agrave; la galerie Anne Barrault reprend ce principe, mais cette fois-ci l&rsquo;environnement n&rsquo;est pas artificiel. Le mode op&eacute;ratoire est celui de l&rsquo;insertion.</p><p>&nbsp;</p><p>Dans des photographies de paysages urbains de la m&eacute;galopole am&eacute;ricaine, Heidi Wood int&egrave;gre des peintures fictives dans des panneaux publicitaires. Les peintures reprennent l&rsquo;esth&eacute;tique du logo dont la ville est sursatur&eacute;e tout en instaurant des pauses visuelles par leur facture purement abstraite. &Agrave; l&rsquo;int&eacute;rieur de l&rsquo;image du paysage urbain, l&rsquo;abondance des messages publicitaires est ainsi bris&eacute;e au niveau visuel. Dans l&rsquo;espace de l&rsquo;&oelig;uvre, l&rsquo;apposition arbitraire aux photographies de slogans extraits de publicit&eacute;s t&eacute;l&eacute;vis&eacute;es souligne la d&eacute;construction d&rsquo;un autre niveau, celui de leurs significations. Textes et images cohabitent sans dialogue dans un espace de visualit&eacute; pure et d&rsquo;apparente gratuit&eacute;.</p><p>&nbsp;</p><p>Cette utopie d&rsquo;un espace public offert &agrave; l&rsquo;art est, en effet, vite balay&eacute;e par la r&eacute;alit&eacute; du support choisi, le panneau publicitaire. Reprenant alors le caract&egrave;re parasitaire de la publicit&eacute;, les photographies de la pr&eacute;sente exposition prennent la taille d&rsquo;un <em>flyer</em>. En 2004, &agrave; Los Angeles, elles avaient m&ecirc;me &eacute;t&eacute; diffus&eacute;es sous forme de <em>spams</em>. L&rsquo;&oelig;uvre entre ainsi par le biais de la promotion dans le syst&egrave;me marchand. Or, ce que promeuvent les images de la s&eacute;rie &laquo; Los Angeles &raquo; n&rsquo;est que pure virtualit&eacute;. Les peintures, en effet, n&rsquo;existent pas, contrairement aux pr&eacute;c&eacute;dentes s&eacute;ries d&rsquo;int&eacute;rieurs. &Agrave; partir de cette d&eacute;mat&eacute;rialisation, se d&eacute;veloppe pourtant une d&eacute;clinaison de formes, cette fois-ci mat&eacute;rielles. L&rsquo;&oelig;uvre, virtuelle et r&eacute;trograd&eacute;e au rang de nuisance par le syst&egrave;me promotionnel, retrouve son caract&egrave;re d&rsquo;objet par une lecture relevant des arts appliqu&eacute;s. L&rsquo;exposition devient <em>showroom</em>.</p><p>&nbsp;</p><p>Les peintures fictives ins&eacute;r&eacute;es dans les photographies se d&eacute;clinent d&egrave;s lors sous la forme de papier peint sur les trois murs du fond de la galerie. Les signes picturaux deviennent ainsi motifs d&eacute;coratifs, r&eacute;p&eacute;titifs ou uniques. La r&eacute;alisation de ces tapisseries sur des feuilles de photocopie de format A4 juxtapos&eacute;es les unes aux autres, tout en soulignant l&rsquo;aspect s&eacute;riel des papiers peints bon march&eacute;, pousse jusqu&rsquo;au bout le calque de la production industrialis&eacute;e. Par des processus relevant de l&rsquo;industrie, l&rsquo;art de Heidi Wood s&rsquo;applique m&eacute;thodiquement aux objets produits par le syst&egrave;me marchand.</p><p>&nbsp;</p><p>Et lorsqu&rsquo;elle accroche au mur une s&eacute;rie de six tableaux intitul&eacute;e &laquo;&nbsp;California Dreaming&nbsp;&raquo;, il ne s&rsquo;agit pas, par quelque nostalgie ou quelque sursaut de moralit&eacute; que ce soit, de revenir &agrave; cet art noble qu&rsquo;est, selon la tradition, la peinture. La toile tendue sur le ch&acirc;ssis n&rsquo;est autre que du tissu d&rsquo;ameublement dont on voit le relief des motifs sous la couche picturale. Comme une redondance, l&rsquo;objet de la peinture qui reprend les logos invent&eacute;s par l&rsquo;artiste n&rsquo;a d&rsquo;autre vocation que d&eacute;corative. Les textes juxtapos&eacute;s fonctionnent de la m&ecirc;me mani&egrave;re que dans la s&eacute;rie &laquo;&nbsp;Los Angeles&nbsp;<em>&raquo;</em>, c&rsquo;est-&agrave;-dire qu&rsquo;ils ne dialoguent pas avec l&rsquo;image. Anecdotes recueillies par Heidi Wood lors de son s&eacute;jour dans la m&eacute;galopole californienne, ces courts textes ont cette valeur d&rsquo;agr&eacute;ment propre &agrave; la d&eacute;coration. &Eacute;ph&eacute;m&egrave;res et plaisants.</p><p>&nbsp;</p><p>Afin de parachever ce syst&egrave;me de production et de diffusion, Heidi Wood nous r&eacute;v&egrave;le volontiers son prochain projet d&rsquo;&eacute;laborer un catalogue de vente &agrave; partir de l&rsquo;&eacute;chantillonnage que propose cette exposition-<em>showroom</em>. Il sera alors possible de choisir le motif parmi ceux qu&rsquo;elle a cr&eacute;&eacute;s, la couleur et le support (papier peint, tableau&hellip;). Si elle calle ainsi le syst&egrave;me de l&rsquo;art sur l&rsquo;&eacute;conomie de march&eacute;, elle n&rsquo;en garde pas moins une distance critique que r&eacute;v&egrave;le, d&rsquo;un geste m&eacute;galomaniaque, une petite photographie au fond de la galerie. Sur cette image, &laquo;&nbsp;Heidi&nbsp;&raquo; a remplac&eacute; tr&egrave;s ironiquement le &laquo;&nbsp;Holly&nbsp;&raquo; de Hollywood. &laquo;&nbsp;Heidiwood&nbsp;&raquo;, un microsyst&egrave;me industriel de l&rsquo;art. L&rsquo;ensemble de cette d&eacute;marche, qui rel&egrave;ve indubitablement de l&rsquo;<em>Economics Art</em>, interroge sans concession la valeur et la survie de l&rsquo;art &agrave; l&rsquo;&egrave;re n&eacute;o-lib&eacute;rale.</p><p>&nbsp;</p><p><strong>Perin-Emel Yavuz,&nbsp;</strong>September 2005</p><p>Paris-art.com, septembre 2005</p>',	'HEIDI WOOD, Los Angeles',	'PERIN-EMEL YAVUZ',	'PARIS-ART.COM, 2005',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'perin-emel-yavuz-paris-art-com-2005',	'perin-emel-yavuz-paris-art-com-2005',	'',	'',	'2018-10-19 12:47:55',	NULL,	'2018-10-19 12:47:55',	'2023-10-30 19:30:00',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1753',	0,	'doc_article',	'doc_article',	'',	0),
(1756,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 09:49:22',	'2018-09-11 09:49:22',	'<p>Galerie Anne Barrault 22 rue Saint Claude, F &ndash; 75003 Paris, France 18 October 2008 &ndash; 20 December 2008 &nbsp; LANGUAGE OF BRANDING, SYSTEM OF SIGNS &nbsp; Heidi Wood&#39;s work is deceptively simple. Consisting of duochrome paintings of bright colors and very clean lines, her style may look elementary: an abstracted motif set against a sharply contrasting background. The motifs appear familiar; we trick ourselves into thinking we&#39;ve seen them somewhere before, in an instruction manual, on a road sign or the logo of a space academy, but they rest in a space somewhere in between, vaguely reminiscent and ambiguously recognizable. It&#39;s oddly comforting to be surrounded by these icons, these logos for non-existent products and services, for this is the stuff we are surrounded with in a day to day setting, the steady stream of signs and symbols from the machines of marketing and consumption. &nbsp; Heidi Wood&#39;s work tackles the strategies and methods of marketing and branding one by one. It&#39;s an exhaustive investigation. Some of the most thought-provoking pieces are the diptychs in the <em>Authentic New Mexico</em> series, where Wood creates angular, reductive mascots, modeled after the Hopi Kachina dolls, set next to photographs of the Santa Fe-style architecture, imposed by law on all buildings in that area of the country, making an uneasy statement about the concept of authenticity and the overlap into branding. &nbsp; This exhibition, <em>Use By Date</em>, her third at Galerie Anne Barrault, offers the rare chance to see a broad survey of her projects as she exhibits some of her past work. The gallery will take on the air of a showroom as works in the exhibition will rotate weekly. The artist states that every piece has a use-by date, set at five years from now. Unless they are &quot;spared through acquisition&quot; all of these works will expire in five years and be systematically destroyed. So stop in today and come often! And yes, there&#39;s a catalogue. We recommend you pick it up, at least to browse through it in the gallery. It gives a great overview on Heidi Wood&#39;s very comprehensive exploration into the motives of marketing and the creation of brand icons--not simple stuff in the least. &nbsp; <strong>Natalie Hegert,&nbsp;</strong>19/10/08 Artslant.com &nbsp; &nbsp; <strong>USE-BY DATE, INTERVIEW</strong> &nbsp; <strong>Nathalie Hegert</strong>: So you were born in London, spent quite a lot of time in Australia, what brings you to Paris and how long have you lived here? &nbsp; <strong>Heidi Wood</strong>: I&rsquo;m Australian but I also have a British passport. I wanted to live somewhere in Europe and learn a language. After I graduated from a Melbourne art school, I visited a few capitals and chose Paris. I&rsquo;ve been here for 19 years. You have to love a country where they make apprentice plumbers do philosophy classes. &nbsp; <strong>NH</strong>: Your current exhibition at Galerie Anne Barrault changes every week, like an interior decorator&#39;s showroom. Today you have some lovely antique wallpaper on one side of the room, a setting for your art work.&nbsp; What is the relationship between your art and the context, the environment in which it is set? &nbsp; <strong>HW</strong>: The starting point is my vocabulary of signs or pictograms. I see the forms I create as bi-products of a generic, omnipresent modernist language. We have seen the forms before but can&rsquo;t quite place where. They compete with logos and signage in a world saturated with signs. They can no longer hope to spark a transcendental experience or provoke a Bolshevik revolution, as artists intended at the outset of abstraction. We expect them to carry a commercial message or an instruction. I want to place this language in a contemporary context, both culturally and economically. I want to take back the visual impact that advertising and communication have fine-tuned. In 2001, I started making my own marketing materials for my abstract paintings. These were slick, mail-order catalogue style photographs of my paintings in domestic settings. The photographs then became artworks in their own right. The relationship, or exchange of brand image, between appealing settings and the pictograms I create for those settings has been at the heart of my work ever since. I&rsquo;m all about giving consumers what they want. The weekly turnover of serving suggestions for my paintings and photographs at the show at Galerie Anne Barrault reflects the art market&rsquo;s hunger for novelty. &nbsp; <strong>NH</strong>: How do you conceptualize and create the shapes of your abstracted motifs?&nbsp; How does color come into play, and how do you achieve the texture on the canvas? &nbsp; <strong>HW</strong>: I create signs for a specific context. This context can be an interior or an urban environment. I see each new vocabulary of signs as the elaboration of visual identity for a given place. I start off collecting data by drawing. Then I break it down into pictograms. I make collages and scan them. In this form, I can manipulate them on the computer, inserting them into settings through photomontage or simulating diptychs or triptychs that can be made to order. When I make a digital proposal into a painting for a specific project or a commission, I use upholstery fabric, which creates a texture on the painting&rsquo;s surface. &nbsp; <strong>NH</strong>: What connections do you find between domesticity and abstract painting? &nbsp; <strong>HW</strong>: I&rsquo;m interested in the dialogue that has always existed between applied arts and abstract painting. My use of upholstery fabric is a reference to the &ldquo;domestication&rdquo; of abstraction, which was almost instantly recycled into patterns for furnishings. I like the double status of paintings as both elements of a cultural dialogue within a museum or gallery context and as decorative additions to an interior that are often chosen because they match the curtains. &nbsp; <strong>NH</strong>: Your work is an investigation into the methods and tactics of advertising and commercialism; is it in the spirit of play or critique that you appropriate these methods? &nbsp; <strong>HW</strong>: Initially, I appropriated advertising strategies. Now I have promoted myself from Marketing Manager to CEO. I run my artistic practice like a business. I manage my product from the design phase to distribution. Streamlining production to maximize return has led me to abandon the everyday practice of painting. Now I create digital proposals that are materialized as paintings, photographs, wall paintings or wallpapers when funding is secured. From now on, any paintings I make that are not sold within 5 years will be destroyed. The digital file will go back into a catalogue of dead works to be revived, possibly in a different form, for other projects or needs. Is this a critique of contemporary life? I&rsquo;m grappling with the world I live in. Mercifully, nobody&rsquo;s asking contemporary artists to herald a new utopia or give helpful hints on transforming society. At best, I&rsquo;m holding up a mirror to the art market. &nbsp; <strong>NH</strong>: Have you ever been commissioned to create an actual logo for a company? Is that something you&#39;d be interested in? &nbsp; <strong>HW</strong>: No, I need layers of meaning in my work. When I create a sign or logo, that logo is the product. Making a logo for someone else&rsquo;s product is not my job. &nbsp; <strong>NH</strong>: In the Authentic New Mexico series, you created Kachina dolls, set next to photographs of the local vernacular architecture, both symbols of Santa Fe and driving sources of that area&#39;s tourist economy.&nbsp;Do you plan any other investigations into place and identity like in Santa Fe? &nbsp; <strong>HW</strong>: I&rsquo;m currently working on a series called Mount Isa, based on photos I took and anecdotes I wrote during a stay at a mining town in the north of Queensland, Australia. I have two residencies planned for 2009: in Meymac, a village in the center of France, and Bremen in Germany. I am definitely interested in the promotion strategies used in tourism at the moment. It will be interesting to apply that to destinations that are not tourist draw cards. &nbsp; <strong>NH</strong>: What&#39;s next for Heidi Wood Enterprises? &nbsp; <strong>HW</strong>: Over the next two years, I&rsquo;ll be gathering material for a new publication devoted to my wall paintings. I&rsquo;ll present both the digital simulations and documentation of the work in various exhibitions. I plan to emerge from the global recession with a whole catalogue of proposals ready to go. &nbsp; <strong>Artslant.com</strong> October 2008</p>',	'<p><strong>HEIDI WOOD, Date limite de consommation</strong><br>Galerie Anne Barrault, Paris<br>18 octobre - 20 d&eacute;cembre 2008</p><p>&nbsp;</p><p>LANGAGE DE MARQUES, SYST&Egrave;MES DE SIGNES</p><p>&nbsp;</p><p>Le travail d&#39;Heidi Wood est plus compliqu&eacute; qu&#39;il n&#39;y para&icirc;t. Tableaux aux couleurs vives et lignes tranch&eacute;es, en bichromie, son style peut sembler &eacute;l&eacute;mentaire : un motif abstrait sur un fond contrast&eacute;. Les motifs semblent familiers. Nous nous convainquons que nous les avons d&eacute;j&agrave; vus, dans un mode d&#39;emploi, sur un panneau routier ou en tant que logo d&#39;une &eacute;cole pour astronautes. Mais ils reposent dans un entre-deux, vaguement nostalgiques et curieusement reconnaissables. Il est bizarrement r&eacute;confortant d&#39;&ecirc;tre entour&eacute; de ces ic&ocirc;nes, ces logos pour produits et services qui n&#39;existent pas, car notre quotidien est fait de ce flux de signes et symboles qui proviennent des dispositifs du marketing et de la consommation.</p><p>&nbsp;</p><p>L&#39;oeuvre d&#39;Heidi Wood s&#39;en prend aux strat&eacute;gies du marketing et de l&#39;image de marque. Il s&#39;agit d&#39;une investigation exhaustive. Parmi les oeuvres les plus d&eacute;routantes, on trouve les diptyques de la s&eacute;rie Authentic New Mexico, dans laquelle Wood cr&eacute;e des mascottes anguleuses et simples d&#39;apr&egrave;s les poup&eacute;es Kachinas Hopis. Celles-ci sont juxtapos&eacute;es aux photographies de l&#39;architecture &quot;style Santa Fe&quot;, obligatoire dans cette partie du pays - critique d&eacute;stabilisante du concept de l&#39;authenticit&eacute; qui se fait happ&eacute; par le branding.</p><p>&nbsp;</p><p>Cette exposition, Date limite de consommation, sa troisi&egrave;me chez Anne Barrault, offre l&#39;occasion rare de voir un large &eacute;chantillon de ses projets lors de la pr&eacute;sentation de ses oeuvres ant&eacute;rieures. La galerie se transforme en showroom et l&#39;offre est renouvel&eacute;e chaque semaine. L&#39;artiste dit : d&eacute;sormais, chaque tableau a une date limite de consommation de cinq ans. A moins qu&#39;ils ne soient &quot;&eacute;pargn&eacute;s par une acquisition,&quot; ils seront syst&eacute;matiquement d&eacute;truits, arriv&eacute;es &agrave; l&#39;&eacute;ch&eacute;ance. Alors, venez d&egrave;s aujourd&#39;hui et repassez souvent ! Et oui, il y a un catalogue. Nous vous conseillons d&#39;y jeter un oeil car il donne une vue d&#39;ensemble de l&#39;exploration tr&egrave;s compl&egrave;te que m&ecirc;ne Heidi Wood sur les motivations du marketing et de la cr&eacute;ation d&#39;images de marque - tout un programme.</p><p>&nbsp;</p><p><strong>Nathalie Hegert</strong></p><p><strong>Artslant.com</strong>, octobre 2008<br>traduit de l&#39;anglais</p>',	'HEIDI WOOD, Use-by Date',	'NATHALIE HEGERT',	' ARTSLANT.COM, 2008',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'nathalie-hegert-artslant-com-2008',	'nathalie-hegert-artslant-com-2008',	'',	'',	'2018-10-19 12:41:18',	NULL,	'2018-10-19 12:41:18',	'2023-10-30 19:30:28',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1756',	0,	'doc_article',	'doc_article',	'',	0),
(1763,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 10:00:21',	'2018-09-11 10:00:21',	'<p>GALERIE ANNE BARRAULT 22, rue Saint Claude, Paris October 18 &ndash; December 20 2008 &nbsp; Heidi Wood embraces the visual efficiency of abstract geometric painting through a strategic application of shapes and colors. By rotating a selection of her new and recent paintings and photographs during each week of this exhibition&rsquo;s nine-week run, Wood insists nothing is final in her practice. The general palette of these works is derived from the women&rsquo;s autumn/winter 2008 collections featured at Galleries Lafayette, one of Paris&rsquo;s premier department stores. Wood also gathers the eerily familiar yet enigmatic shapes in her paintings from popular iconography &ndash; street signs, souvenirs, billboards and institutional architecture. In her 2007 series of photographs and illustrations &ldquo;Authentic New Mexico,&rdquo; she unravels the myth-making potentials of image and design. Documenting several &ldquo;faux-dobe&rdquo; neighborhoods and businesses, including a McDonald&rsquo;s, she highlights the construction of cultural identity and its systematic distribution. In <em>Authentic New Mexico 1</em>, for example, Wood juxtaposes a photograph of a teepee-shaped drive-through with her rendition of a kachina doll, the popularized Hopi totem. &nbsp; In turning the gallery into an evolving showroom and allowing her works to &ldquo;freeze&rdquo; only when acquired by a collector or museum, Wood demonstrates her estimation of the art market. While her paintings are unique, they are available for customization according to patron&rsquo;s specifications. Likewise, Wood treats her painted canvases &ndash; often made on upholstery fabric &ndash; like disposable products. As stated in the title of the show, &ldquo;use-by date,&rdquo; these works have a shelf life: five years. After this period, if Wood has not sold a painting, she will destroy it &ndash; enacting perhaps the sharpest assessment of trade in visual currency. &nbsp; <strong>Lillian Davies,</strong> December 2008<strong>&nbsp;</strong> Critics&rsquo; Picks Artforum.com</p>',	'<p>Galerie Anne Barrault, Paris<br>18 octobre - 20 d&eacute;cembre 2008</p><p>&nbsp;</p><p>Heidi Wood c&eacute;l&egrave;bre l&#39;efficacit&eacute; visuelle de la peinture abstraite g&eacute;om&eacute;trique via une application strat&eacute;gique de formes et de couleurs. En faisant tourner chaque semaine une s&eacute;lection de ses r&eacute;cents tableaux et peintures pendant les neuf semaines que dure cette exposition, Wood proclame que rien n&#39;est d&eacute;finitif dans son travail. La palette de couleurs de ces oeuvres provient de la collection femme automne/hiver 2008 des Galeries Lafayette. Par ailleurs, Wood puise les formes &eacute;trangement famili&egrave;res mais &eacute;nigmatiques de ses tableaux dans l&#39;iconographie populaire : signal&eacute;tique routi&egrave;re, bibelots touristiques, panneaux publicitaires et architecture institutionnelle. Dans sa s&eacute;rie de photographies et d&#39;illustrations <em>Authentic New Mexico</em>, 2007, elle d&eacute;montre la capacit&eacute; de l&#39;image et du design &agrave; fabriquer des mythes. En documentant plusieurs quartiers et entreprises qui emploient une architecture qui simule l&#39;adobe, y compris un McDonald&#39;s, elle souligne la construction de l&#39;identit&eacute; culturelle et sa implantation syst&eacute;matique. Dans <em>Authentic New Mexico 1,</em> par exemple, Wood juxtapose une photographie d&#39;un fastfood en forme de tipi avec sa propre version d&#39;une poup&eacute;e kachina - totem Hopi popularis&eacute;.</p><p>&nbsp;</p><p>En transformant la galerie en showroom &eacute;volutif et en permettant &agrave; ses oeuvres de se figer uniquement quand elles sont acquises par un collectionneur ou un mus&eacute;e, Wood nous livre son opinion du march&eacute; de l&#39;art. Si ses tableaux sont uniques, ils sont &eacute;galement customisables d&#39;apr&egrave;s les sp&eacute;cifications d&#39;un commanditaire. De la m&ecirc;me mani&egrave;re, Wood traite ses tableaux - souvent r&eacute;alis&eacute;s sur un tissu d&#39;ameublement - comme des produits jetables. Comme l&#39;indique le titre, &quot;Date limite de consommation,&quot; ces &oelig;uvres sont p&eacute;rissables, avec une esp&eacute;rance de vie de 5 ans. Au-del&agrave; de cette p&eacute;riode, si Wood n&#39;a pas vendu un tableau, elle le d&eacute;truira - promulguant peut &ecirc;tre une &eacute;valuation des plus percutantes du commerce visuel.</p><p>&nbsp;</p><p><strong>Lillian Davies</strong></p><p>Citics&#39; Picks</p><p>Artforum.com, 2008<br>Traduit de l&#39;anglais</p>',	'HEIDI WOOD, Use-by Date',	'LILLIAN DAVIES',	'ARTFORUM.COM, 2008',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'lillian-davies-artforum-com-2008',	'lillian-davies-artforum-com-2008',	'',	'',	'2018-10-19 12:40:40',	NULL,	'2018-10-19 12:40:40',	'2023-10-30 19:32:10',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1763',	0,	'doc_article',	'doc_article',	'',	0),
(1766,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 10:05:04',	'2018-09-11 10:05:04',	'<p>Galerie Anne Barrault, Paris October 18 &ndash; December 20 2008 &nbsp; <strong>In the Heidi Wood case, the suspect is the painting.</strong> The fact is that there is something suspicious today about abstract painting. Form, background, color, line, format and its frontal nature. We have come to the end of the road. These days, any new variation is no more than a quote. It already belongs in the public domain. Geometric abstraction has indeed become a universal language. Everyone reads it as a sign. Everyone recognizes its potential power as a logo, its ability to encapsulate a message and give the impression of a cryptic announcement. In an unexpected twist, abstract painting refers back to the very domains that appropriated it for the purpose of signage and, more generally, communication. &nbsp; On the scale of the painting unit, Heidi Wood&rsquo;s work already strives to describe this phenomenon by playing with the shifting meanings of the motif painted on a monochrome background. The obviously spare composition, its extreme simplicity, its uncluttered readability give it an air of <em>d&eacute;ja-vu</em> that immediately introduces a sense of doubt or suspicion about the real status of the object that we are unable to situate precisely between abstract painting and road sign. During this initial phase of work, she sets the tone. Make no mistake, appearances work against the artwork here, utterly against it. The means of presentation adopted confirm the painting in its role as suspect. They deliberately resemble promotion strategies, reinforcing a sense of corruption. We must thus recognize them on a second level as simulations of an ideal, efficient serving suggestions and appealing presentation styles. &nbsp; For her third exhibition with Anne Barrault, the artist, faithful to her mimetic approach, is putting on a sort of evolving showroom, like that of a small business wishing to familiarize its clientele with a wide range of services. From this perspective and in a subtle game of recycling and self-quotation, she associates completely new formulae with works appreciated in the past and updated here for the occasion. The demands of the public, always on the lookout for something new, will be more than satisfied by a weekly turnover throughout the exhibition. Between tradition and innovation (alias Heidi Wood&rsquo;s fiction), the art polishes its brand image. &nbsp; And the image as a promise of an ideal is indeed Heidi Wood&rsquo;s stock and trade. The motif set in a given environment becomes image. The context generates and justifies the motif and vice versa. The artwork reveals itself in this occasional and specific interdependence. This is precisely what fascinates the artist, who has no illusions about the autonomy of the painting and even less about its timelessness. From now on, she will grant it a life expectancy of five years (when it reaches its use-by date, each painting will be destroyed unless it is spared through acquisition). Henceforth, all the material aspects of the artwork will be only simulations. And it is only in these terms that Heidi Wood plays with marketing strategies for them. &nbsp; <strong>Philippe Coubetergues</strong> September 2008 Translated from French</p>',	'<p><strong>Galerie Anne Barrault</strong></p><p>18 octobre &ndash; 20 d&eacute;cembre 2008</p><p>&nbsp;</p><p><strong>Dans l&rsquo;affaire Heidi Wood le suspect c&rsquo;est le tableau</strong></p><p>Le fait est qu&rsquo;il y a quelque chose de suspect aujourd&rsquo;hui dans la peinture abstraite. La forme, le fond, la couleur, la ligne, le format, la frontalit&eacute;. On est arriv&eacute; au bout. Toute variation nouvelle n&rsquo;est plus qu&rsquo;une citation. Elle appartient d&eacute;j&agrave; au domaine public. L&rsquo;abstraction g&eacute;om&eacute;trique est bien devenue un langage universel. Chacun en &eacute;value la valeur de signe, chacun y reconnait la charge potentielle du logo, la synth&egrave;se susceptible du message, l&rsquo;effet sibyllin d&rsquo;une annonce. Par un retournement inattendu de situation, la peinture abstraite r&eacute;f&egrave;re aux instances m&ecirc;mes qui s&rsquo;en &eacute;taient empar&eacute;es &agrave; des fins de signalisation et plus largement de communication.</p><p>&nbsp;</p><p>A l&rsquo;&eacute;chelle de l&rsquo;unit&eacute; tableau, le travail d&rsquo;Heidi Wood s&rsquo;at&egrave;le d&eacute;j&agrave; &agrave; d&eacute;crire ce ph&eacute;nom&egrave;ne en jouant des significations flottantes du motif peint sur fond monochrome. L&rsquo;&eacute;vidente &eacute;conomie de la composition, sa simplicit&eacute; extr&ecirc;me, sa lisibilit&eacute; &eacute;pur&eacute;e lui donnent un air de d&eacute;j&agrave;-vu qui introduit d&rsquo;embl&eacute;e un doute, une suspicion sur le statut r&eacute;el de l&rsquo;objet que l&rsquo;on ne parvient pas &agrave; situer pr&eacute;cis&eacute;ment entre le tableau abstrait et le panneau signal&eacute;tique. A ce premier stade du travail, le ton est donn&eacute;. Ne nous y trompons pas, les apparences jouent ici contre l&rsquo;&oelig;uvre, tout contre. Les modes de pr&eacute;sentation adopt&eacute;s confirment le tableau dans ce r&ocirc;le de suspect. Ils s&rsquo;apparentent d&eacute;lib&eacute;r&eacute;ment &agrave; des strat&eacute;gies de promotion qui renforcent l&rsquo;effet de d&eacute;voiement. Il convient donc de les reconna&icirc;tre au deuxi&egrave;me degr&eacute; comme autant simulations id&eacute;ales, de propositions efficaces d&rsquo;accompagnement, de suggestions avantageuses d&rsquo;arrangement.</p><p>&nbsp;</p><p>A l&rsquo;occasion de sa troisi&egrave;me exposition personnelle chez Anne Barrault, l&rsquo;artiste fid&egrave;le &agrave; sa d&eacute;marche mim&eacute;tique, se lance dans une sorte de showroom &eacute;volutif, qui pourrait &ecirc;tre celui d&rsquo;une petite entreprise d&eacute;sireuse de faire conna&icirc;tre &agrave; sa client&egrave;le le large &eacute;ventail de ses prestations. Dans cette optique et par un jeu subtil de r&eacute;emploi et d&rsquo;autocitation, elle associe des formules parfaitement in&eacute;dites &agrave; des interventions appr&eacute;ci&eacute;es par le pass&eacute; et r&eacute;actualis&eacute;es ici pour l&rsquo;occasion. Les attentes du public toujours en qu&ecirc;te de nouveaut&eacute;, y sont par ailleurs largement satisfaites par un turn-over hebdomadaire assur&eacute; pendant toute la dur&eacute;e de l&rsquo;exposition. Entre tradition et innovation, l&rsquo;&oelig;uvre (alias la fiction Heidi Wood) soigne ainsi son image.</p><p>&nbsp;</p><p>Et l&rsquo;image en tant que promesse d&rsquo;un id&eacute;al (l&rsquo;apparence en peinture en tant que produit d&rsquo;appel), c&rsquo;est bien le fond de commerce d&rsquo;Heidi Wood. Le motif inscrit dans un environnement donn&eacute; fait image. Le contexte g&eacute;n&egrave;re et justifie le motif, et inversement. L&rsquo;&oelig;uvre se d&eacute;voile dans cette interd&eacute;pendance ponctuelle et sp&eacute;cifique. C&rsquo;est pr&eacute;cis&eacute;ment ce qui fascine l&rsquo;artiste qui n&rsquo;a pas d&rsquo;illusion sur l&rsquo;autonomie du tableau, encore moins sur sa p&eacute;rennit&eacute;. Elle ne lui accorde d&eacute;sormais qu&rsquo;une esp&eacute;rance de vie de cinq ans (chaque tableau &agrave; l&rsquo;&eacute;ch&eacute;ance de sa date limite de consommation est d&eacute;truit sauf cas de d&eacute;tournement par effet d acquisition). Ainsi tous les aspects mat&eacute;riels de l&rsquo;&oelig;uvre ne sont plus que des simulations. Et c&rsquo;est seulement &agrave; ce titre, qu&rsquo;Heidi Wood se joue de leur commercialisation.</p><p>&nbsp;</p><p><strong>Philippe Coubetergues</strong><br>septembre 2008</p>',	'HEIDI WOOD, Date limite de consommation (Use-by Date)',	'PHILIPPE COUBETERGUES',	'PRESS RELEASE, 2008',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'philippe-coubetergues-press-release-2008',	'philippe-coubetergues-press-release-2008',	'',	'',	'2018-10-19 12:40:20',	NULL,	'2018-10-19 12:40:20',	'2023-10-30 19:32:34',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1766',	0,	'doc_article',	'doc_article',	'',	0),
(1769,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 10:08:45',	'2018-09-11 10:08:45',	'<p>Image/Imatge (Orthez) Ecole sup&eacute;rieure des arts et de la communication (Pau) January 16 &ndash; March 7 2009 &nbsp; Heidi Wood questions the dividing up of the world imposed by communication codes. The ensuing fragmentation seeks to examine and explain the message, without ever running the risk of scheming, faltering or even provoking vertigo. For this artist, questioning means revealing greater complexity, varying the angles of approach, activating a slippery, disturbing, yet fertile acuteness and thus expanding the scope of a range of practices and a vocabulary of forms from the urban environment, including signage and a certain coding of modernism, somewhere between common usage and unexpected shifts. &nbsp; In Orthez, the exhibition focuses on Mount Isa, a rich mining town in the northwest of the state of Queensland in Australia. The town is characterized by a vast, featureless urban sprawl that has developed around a prosperous industry. Heidi Wood associates each of her photographs of a banal, abrupt house, &ldquo;between ultramarine sky and red ochre ground&rdquo; with a collage made of home decorator adhesive that describes the rudimentary, sharp silhouette of mining buildings; she presents these duos in a wall painting inspired by this particular functional geometry. The pairing of images is done efficiently. It skillfully underlines their difference all the better to accentuate the peculiarity of their coexistence. To apprehend them in their full antinomy and the violence of their proximity, the juxtaposition shows both the combinations offered by the ambiguity and the possibilities of an alternative in a successive and discontinuous manifestation of lightness and heaviness, rigor and drifting, brutal obviousness and conciliatory atmospheric phenomena. &nbsp; In Pau, Heidi Wood explores the visual identity of architects Beckmann and N&rsquo;Th&eacute;p&eacute; to extract three abstract forms presented in three colors in a large-scale wall painting. The extreme desire for hard edges and clarity leads to a sort of turnaround, with a vigorous indetermination that opens onto a positive game of loss and reconstruction, anchoring and instability. &nbsp; Heidi Wood seems constantly motivated by a need for confrontations and articulations between figuration and abstraction, fragments of reality and principles of representation, signage requirements and decorative recurrence, and by a need to actively adjust to produce a coherent plurality of images that refer to and mutually stimulate one another. They combine, without converging, in a single energy. &nbsp; <strong>Didier Arnaudet</strong><strong>Art Press</strong> n&deg; 355, April 2009 In Galerie Anne Barrault, in Paris, from October 18 to December 20, Heidi Wood presented an exhibition with a weekly turnover of installations. &nbsp;</p>',	'<p>Image/Imatge (Orthez)</p><p>Ecole sup&eacute;rieure des arts et de la communication (Pau)</p><p>16 janvier &ndash; 7 mars 2009</p><p>&nbsp;</p><p>Heidi Wood s&rsquo;interroge sur la d&eacute;coupe du monde impos&eacute;e par les codes de communication. La fragmentation qui en d&eacute;coule vise un &eacute;clairage vou&eacute; &agrave; la compr&eacute;hension du message, sans jamais prendre le risque de l&rsquo;intrigue, de la vacillation, voire du vertige. S&rsquo;interroger pour cette artiste, consiste &agrave; complexifier cet &eacute;clairage, &agrave; varier les angles d&rsquo;approche, &agrave; mobiliser l&rsquo;acuit&eacute; glissante, troublante mais f&eacute;conde, et donc &agrave; &eacute;largir la capacit&eacute; d&rsquo;un ensemble de pratiques et d&rsquo;un vocabulaire de formes issues de l&rsquo;espace urbain, de la signal&eacute;tique et d&rsquo;une certaine codification du modernisme, dans les all&eacute;es et venues entre l&rsquo;usage commun et le d&eacute;calage inattendu.</p><p>&nbsp;</p><p>A Orthez, l&rsquo;exposition a pour aiguillon principal Mount Isa, riche cit&eacute; mini&egrave;re situ&eacute;e au nord-est de l&rsquo;&eacute;tat de Queensland en Australie. Cette ville se caract&eacute;rise par une vaste &eacute;tendue urbaine sans qualit&eacute; qui se d&eacute;veloppe autour d&rsquo;une industrie prosp&egrave;re. Heidi Wood associe chacune de ses photographies d&rsquo;une architecture individuelle, banale, abrupte, <em>&laquo;&nbsp;entre le ciel bleu outremer et le sol ocre rouge&nbsp;&raquo;&nbsp;</em>&agrave; un collage d&rsquo;adh&eacute;sifs de d&eacute;coration, qui dessine l&rsquo;ombre rudimentaire, tranchante des b&acirc;timents miniers&nbsp;; elle met cet ensemble en situation dans un d&eacute;cor de peinture murale inspir&eacute;e de cette sp&eacute;cificit&eacute; g&eacute;om&eacute;trique et fonctionnelle. La cohabitation des images est assur&eacute;e de mani&egrave;re efficace&nbsp;; elle souligne, avec habilit&eacute;, leur diff&eacute;rence pour mieux accentuer la singularit&eacute; de leur coexistence. Pour les saisir en m&ecirc;me temps dans toute leur antinomie et la violence de leur voisinage, la juxtaposition laisse voir &agrave; la fois des combinaisons ouvertes par l&rsquo;ambig&uuml;it&eacute; et les possibilit&eacute;s de l&rsquo;alternative dans la manifestation, successive et discontinue, de la l&eacute;g&egrave;ret&eacute; et de la pesanteur, de la rigueur et de la d&eacute;rive, de la rudesse de la frontalit&eacute; et des ph&eacute;nom&egrave;nes atmosph&eacute;riques de conciliation.</p><p>&nbsp;</p><p>A Pau, Heidi Wood puise dans les ressources de l&rsquo;identit&eacute; visuelle des architectes Beckmann et N&rsquo;Th&eacute;p&eacute; trois motifs abstraits convoqu&eacute;s dans trois couleurs qui s&rsquo;inscrivent et agissent dans le d&eacute;ploiement d&rsquo;une grande peinture murale. Le d&eacute;sir extr&ecirc;me de nettet&eacute; et de clart&eacute; conduit &agrave; une sorte de renversement de proposition o&ugrave; s&rsquo;affirme une vigueur d&rsquo;ind&eacute;termination qui s&rsquo;ouvre sur un jeu positif de d&eacute;perdition et de reconstruction, d&rsquo;ancrage et d&rsquo;instabilit&eacute;.</p><p>&nbsp;</p><p>Heidi Wood semble constamment activ&eacute;e par un besoin de confrontations et d&rsquo;articulations entre figuration et abstraction, fragment de r&eacute;alit&eacute; et principe de repr&eacute;sentation, imp&eacute;ratif de signalisation et r&eacute;currence d&eacute;corative, et par un souci d&rsquo;ajustement, tout en tonicit&eacute;, pour produire une pluralit&eacute; coh&eacute;rente d&rsquo;images qui se r&eacute;f&egrave;rent les unes aux autres, se motivent mutuellement, et pour tout dire, se conjuguent, sans se confondre, dans une m&ecirc;me &eacute;nergie.</p><p>&nbsp;</p><p><strong>Didier Arnaudet</strong></p><p>art press n&deg; 355, avril 2009</p><p>A la galerie Anne Barrault, &agrave; Paris, du 18 octobre au 20 d&eacute;cembre 2008, Heidi Wood a propos&eacute; une exposition &eacute;volutive, marqu&eacute;e par un turn-over hebdomadaire.</p>',	'HEIDI WOOD',	'DIDIER ARNAUDET',	'ART PRESS, 2009 ',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'didier-arnaudet-art-press-2009',	'didier-arnaudet-art-press-2009',	'',	'',	'2018-10-19 12:39:26',	NULL,	'2018-10-19 12:39:26',	'2023-10-30 19:34:02',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1769',	0,	'doc_article',	'doc_article',	'',	0),
(1772,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 10:14:20',	'2018-09-11 10:14:20',	'<p>Residency program (March &ndash; April 2009) and exhibition (April 18 &ndash; June 15 2009) Contemporary Art Center, Abbaye Saint Andr&eacute;, Meymac &nbsp; In the service provided by Heidi Wood, the painting, set in a given environment, functions as an <em>image</em>. By insisting precisely on this <em>image</em> effect, the symbolic crystallization of an ideal occurs; the extreme enhancement of volatile appearances confers on the Heidi Wood suggestion the precariousness and evocative power of her intention in that it obliterates all trace of painting. &nbsp; The context generates and justifies the motif (alias the painting) and vice versa. The artwork reveals itself in this intermittent and specific inter-dependency. This is precisely what interests the artist, who has no illusions about the autonomy of the painted object, and even less concerning the timelessness of the context. As a result, in the case of a painting shown, she is interested only in the impact of its presentation. In painting, she focuses on the signal, rather than the sign. &nbsp; Heidi Wood works as a service provider in a wide range of contexts: industrial, urban, domestic, commercial, etc. She takes on the job of making images under contract and for her brand name. In her undertaking, the painting&rsquo;s value is only that of a motif. As an object, it submits to the rules of usage required to meet the quality standards of the service she provides. Its life expectancy is limited. Unless it is spared by acquisition, it remains valid for five years. The artwork&rsquo;s material aspects are only intermittent simulations. The motif, however, is stored in memory and can be reactivated at any time. &nbsp; In light of the above, during her residency at the Meymac abbey she has programmed a pyre for twenty-one of her paintings from 2002 and 2003. They have all featured in specific projects (<em>Cristal Union</em> in 2002, <em>Plan&egrave;te magique</em> in 2003, etc.). Far from any desire to provoke or generate controversy, this act is a fulfillment. Like a business run on the principle of just-in-time delivery, the artist manages her stocks by disposing of those that have not been sold. But the act acquires symbolic value, so the performance modalities are thought through in great detail, much like her installations. In the current context of overproduction that seems necessary to the fragile balance of economies, this iconoclastic gesture should be seen in its true light as a signal. &nbsp; <strong>Philippe Coubetergues</strong>, March 2009 Translated from French &nbsp; <strong>Postscript</strong> Faced with the difficulties of organizing this &ldquo;pyre&rdquo; and the realization that the paintings contain polyester and lead, so they risk giving off a toxic cloud if burnt, the paintings will be destroyed at the end of the exhibition in a less spectacular manner.</p>',	'<p>Programme de r&eacute;sidence (mars &ndash; avril 2009) et exposition (18 avril &ndash; 15 juin 2009)</p><p>Centre d&rsquo;art contemporain, Abbaye Saint Andr&eacute;, Meymac</p><p>&nbsp;</p><p>Dans la prestation Heidi Wood, le tableau, inscrit dans un environnement donn&eacute;, fait <em>image</em>. En insistant pr&eacute;cis&eacute;ment sur cet effet<em>&nbsp;image,</em> se produit une cristallisation symbolique d&rsquo;un id&eacute;al&nbsp;; la valorisation extr&ecirc;me des apparences volatiles de l&rsquo;objet conf&egrave;re &agrave; la suggestion Heidi Wood la pr&eacute;carit&eacute; et la force d&rsquo;&eacute;vocation du dessein dans sa capacit&eacute; &agrave; oblit&eacute;rer toute trace de peinture.</p><p>&nbsp;</p><p>Le contexte g&eacute;n&egrave;re et justifie le motif (alias le tableau), et inversement. L&rsquo;&oelig;uvre se d&eacute;voile dans cette interd&eacute;pendance ponctuelle et sp&eacute;cifique. C&rsquo;est pr&eacute;cis&eacute;ment ce qui int&eacute;resse l&rsquo;artiste qui n&rsquo;a pas d&rsquo;illusion sur l&rsquo;autonomie de l&rsquo;objet peint, encore moins sur la p&eacute;rennit&eacute; du contexte. En cons&eacute;quence, dans la situation d&rsquo;un tableau qui s&rsquo;expose, seul l&rsquo;effet d&rsquo;annonce retient son attention. Dans la peinture ce qui l&rsquo;alerte, plut&ocirc;t que le signe, c&rsquo;est le signal.</p><p>&nbsp;</p><p>Heidi Wood intervient comme un prestataire de service dans les contextes les plus divers, industriels, urbains, domestique, commerciaux, etc. Elle se donne pour m&eacute;tier de faire image sur contrat et sous sa ligne. Dans sa d&eacute;marche, le tableau n&rsquo;a que la valeur du motif. En tant qu&rsquo;objet, il est soumis &agrave; des r&egrave;gles d&rsquo;usage dont d&eacute;pend le label qualit&eacute; de la prestation. Sa dur&eacute;e de vie est limit&eacute;e. Sauf cas de d&eacute;tournement par effet d&rsquo;acquisition, sa validit&eacute; est de cinq ans. Les aspects mat&eacute;riels de l&rsquo;&oelig;uvre ne sont que des simulations ponctuelles. Le motif est, lui, gard&eacute; en m&eacute;moire&nbsp;; il peut &ecirc;tre r&eacute;activ&eacute; &agrave; tous moment.</p><p>&nbsp;</p><p>C&rsquo;est &agrave; ce titre et dans le cadre de sa r&eacute;sidence &agrave; l&rsquo;abbaye de Meymac, qu&rsquo;est programm&eacute; l&rsquo;incendie de vingt-et-une de ses toiles de 2002 et 2003. Elles ont toutes figur&eacute; au sein de projets sp&eacute;cifiques (<em>Cristal Union</em> en 2002, <em>Plan&egrave;te magique</em> en 2003, etc.). Loin de toute volont&eacute; de controverse ou de provocation, cet acte est un accomplissement. A l&rsquo;image d&rsquo;une entreprise soumise au principe du flux tendu, l&rsquo;artiste g&egrave;re ses stocks en se d&eacute;barrassant des invendus. Mais ici l&rsquo;acte prend valeur de symbole, de sorte que ses modalit&eacute;s performatives seront pens&eacute;es dans le moindre d&eacute;tail &agrave; l&rsquo;instar de ses installations. Et de fait, dans le contexte actuel des surproductions auxquelles semble li&eacute; l&rsquo;&eacute;quilibre incertain des &eacute;conomies, ce geste iconoclaste devrait donc appara&icirc;tre dans sa compl&egrave;te valeur de signal.</p><p>&nbsp;</p><p><strong>Philippe Coubetergues</strong>, mars 2009.</p><p>&nbsp;</p><p><strong>Post-scriptum</strong></p><p>Devant les difficult&eacute;s d&rsquo;organisation d&rsquo;un tel &laquo;&nbsp;b&ucirc;cher&nbsp;&raquo; et la r&eacute;alisation que les tableaux contiennent du polyester et du plomb, et donc risquent de d&eacute;gager une fum&eacute;e toxique, la destruction des tableaux &agrave; la fin de l&rsquo;exposition se fera de mani&egrave;re moins spectaculaire.</p>',	'HEIDI WOOD, The Meymac Pyre or Just-in-time Delivery',	'PHILIPPE COUBETERGUES',	'PRESS RELEASE, 2009',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'heidi-wood-the-meymac-pyre-or-just-in-time-delivery',	'heidi-wood-the-meymac-pyre-or-just-in-time-delivery',	'',	'',	'2018-10-19 12:38:42',	NULL,	'2018-10-19 12:38:42',	'2023-10-30 19:34:35',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1772',	0,	'doc_article',	'doc_article',	'',	0),
(1784,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 12:43:01',	'2018-09-11 12:43:01',	'<p><strong>Heidi Wood / Notre Dame de Moustoire Chapel</strong> &nbsp; Notre-Dame de Moustoire is a chapel. Its presence in the depths of the countryside is indicated to visitors by a sign. On it, a chapel is simplified, reduced to a symbol, an image, a logo: chapel this way! &nbsp; We wonder how the &ldquo;chapel&rdquo; logo influences our first impressions of Notre-Dame de Moustoire. Although it is similar to all the others, this chapel is unique within its category. Its selling point as a tourist attraction is precisely its difference: its architectural particularities, the specific way it sits in the landscape. Yet the logo reduces it to a chapel like the rest, one among many, one that when added to all the others constitutes &ldquo;heritage&rdquo;. This is what the sign says. More than indicating the chapel itself, it states its contribution to the region&rsquo;s appeal to tourists. &nbsp; In this way, codes standardize the world. They brand it. Here, it is a brand you can trust, have faith in. Clearly there is something here that shouldn&rsquo;t be missed. The schematized logo claims to be universal. It signals a chapel worthy of interest for all passers-by, regardless of religious convictions. The cultural nature of the site would seem to have been sidestepped. &nbsp; Under the cover of directing us or facilitating comprehension, codes govern reality. We cannot imagine the extent to which they orient the way we see. By appearing prior to the thing we will see, the logo reduces it. By foreshadowing, it deforms. How does Notre-Dame de Moustoire chapel correspond to our expectations of chapels? Why does its appeal to tourists deserve to be proclaimed? By schematizing the world, our very apprehension of that world is simplified. &nbsp; Heidi Wood focuses on the arbitrary dimension of the code that governs reality to the point of replacing it. Invited to exhibit in this chapel, she chose to play with the relationship of meaning between indicator and indicated. Using fiction as an alibi, she reshuffles the representations that connect signs to objects. Has she made the &ldquo;chapel&rdquo; logo into a new icon to worship? &nbsp; The piece she presents indicates that something has been shifted. Three hanging chasubles block the nave at regular intervals. Carefully crafted, playing on the contrast between the different fabrics used, these sumptuous gowns directly echo ceremonial dress. The cross-stitched embroidery recreates the logo from the road sign outside. The symbolism of the colors plays on other conventions, such as male and female. &nbsp; A schematic evocation of three absent bodies, the three chasubles fill the space with a strong physical presence. The floating nature of the gowns as well as the contrast between the warm, luminous materiality of the fabrics and the cold, mineral, lackluster context, all participate in a generally disturbing sense of artificial remanence. &nbsp; The <em>born again</em> aspect of this fake ceremony provokes a vague feeling that these muddled categories are not inappropriate here. &nbsp; <strong>Philippe Coubetergues</strong> May 2011 (translated from French)</p>',	'<p><strong>Heidi Wood / Chapelle Notre Dame de Moustoire</strong></p><p>&nbsp;</p><p>Notre-Dame de Moustoire est une chapelle. Sa pr&eacute;sence au c&oelig;ur de la campagne profonde est signal&eacute;e au visiteur par un panneau indicateur. Une chapelle y est sch&eacute;matis&eacute;e. R&eacute;duite &agrave; un symbole, une image, un logo&nbsp;: ici, chapelle &agrave; voir&nbsp;!</p><p>&nbsp;</p><p>On s&rsquo;interroge quant &agrave; l&rsquo;influence du logo &laquo;&nbsp;chapelle&nbsp;&raquo; sur la d&eacute;couverte de Notre-Dame de Moustoire. Bien que semblable &agrave; toutes les autres, cette chapelle est unique en son genre. Ce qui fait son int&eacute;r&ecirc;t touristique, c&rsquo;est pr&eacute;cis&eacute;ment sa diff&eacute;rence, ses particularit&eacute;s architecturales, son inscription sp&eacute;cifique dans le paysage. Le logo la r&eacute;duit pourtant &agrave; une chapelle comme les autres, une parmi tant d&rsquo;autres, une qui additionn&eacute;e &agrave; toutes les autres constitue un &laquo;&nbsp;v&eacute;ritable patrimoine&nbsp;&raquo;. Ce que d&eacute;signe le panneau - plus que la chapelle elle-m&ecirc;me &ndash; c&rsquo;est sa participation &agrave; l&rsquo;attrait touristique de la r&eacute;gion.</p><p>&nbsp;</p><p>Ainsi, les codes normalisent le monde. Ils labellisent. Ici le label fait foi. A n&rsquo;en pas douter, il y a ici quelque chose &agrave; ne pas rater. Le condens&eacute; sch&eacute;matique du logo se veut universel&nbsp;: il signale une chapelle digne d&rsquo;int&eacute;r&ecirc;t pour quelque promeneur que ce soit. Peu importe ses convictions religieuses. Le caract&egrave;re cultuel du site semble &eacute;cart&eacute;.</p><p>&nbsp;</p><p>Sous couvert de faciliter sa d&eacute;couverte ou sa compr&eacute;hension, les codes r&eacute;gissent le r&eacute;el. On n&rsquo;imagine pas &agrave; quel point ils orientent le regard. En devan&ccedil;ant sa d&eacute;couverte, le logo r&eacute;duit la chose. En pr&eacute;figurant, il d&eacute;figure. En quoi la chapelle Notre-Dame de Moustoire co&iuml;ncide-t-elle avec l&rsquo;id&eacute;e que l&rsquo;on se fait d&rsquo;une chapelle&nbsp;? En quoi son int&eacute;r&ecirc;t touristique m&eacute;rite-t-il d&rsquo;&ecirc;tre signal&eacute;&nbsp;? A force de sch&eacute;matiser le monde, notre intelligence au monde devient elle-m&ecirc;me sch&eacute;matique.</p><p>&nbsp;</p><p>Heidi Wood se penche pr&eacute;cis&eacute;ment sur la dimension arbitraire du code qui r&eacute;git le visible au point de s&rsquo;y substituer. Invit&eacute;e &agrave; intervenir dans cette chapelle, elle fait le choix de jouer avec ce rapport de signification entre l&rsquo;indicateur et l&rsquo;indiqu&eacute;. Sous couvert de fiction, ses d&eacute;placements rejouent le jeu des repr&eacute;sentations qui relient les signes aux objets. Et si le logo &laquo;&nbsp;chapelle&nbsp;&raquo; devenait ainsi l&rsquo;objet d&rsquo;un culte d&rsquo;un nouveau genre&nbsp;?</p><p>&nbsp;</p><p>L&rsquo;&oelig;uvre signale &agrave; son tour cette sorte de d&eacute;tournement. Trois chasubles suspendues barrent la nef &agrave; intervalles r&eacute;guliers. De confection soign&eacute;e, jouant du contraste des diff&eacute;rentes &eacute;toffes associ&eacute;es, ces somptueuses parures font directement &eacute;cho &agrave; l&rsquo;habit de c&eacute;r&eacute;monie. La broderie au point de croix reprend le logo du panneau signal&eacute;tique. La symbolique des couleurs d&eacute;jouent &eacute;galement d&rsquo;autres conventions, le masculin face au f&eacute;minin, par exemple.</p><p>&nbsp;</p><p>Evocation sch&eacute;matique de trois corps absents, les trois chasubles habitent l&rsquo;espace d&rsquo;une forte pr&eacute;sence physique. Le flottement a&eacute;rien des tentures mais aussi le contraste entre la mat&eacute;rialit&eacute; lumineuse et chaude des textiles et la min&eacute;ralit&eacute; &eacute;teinte et froide du contexte, tout cela participe d&rsquo;un effet g&eacute;n&eacute;ral et troublant de r&eacute;manence artificielle.</p><p>&nbsp;</p><p>Le caract&egrave;re <em>revival</em> de cette fausse c&eacute;r&eacute;monie provoque le sentiment diffus d&rsquo;une certaine confusion des genres qui n&rsquo;est pas sans justesse.</p><p>&nbsp;</p><p><strong>Philippe Coubetergues</strong>, mai 2011</p>',	'BRANDING YOU CAN TRUST',	'PHILIPPE COUBETERGUES',	'PRESS RELEASE, 2011',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'branding-you-can-trust',	'branding-you-can-trust',	'',	'',	'2018-10-19 12:38:04',	NULL,	'2018-10-19 12:38:04',	'2023-10-30 19:35:04',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1784',	0,	'doc_article',	'doc_article',	'',	0),
(1791,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 13:19:06',	'2018-09-11 13:19:06',	'<p><strong>A suburban environment by Heidi Wood</strong> Galerie Anne Barrault, 22 rue Saint Claude, 75003, Paris February 28 - April 13 2013 &nbsp; <em>Suburbia today is a space denied in which proliferates what the anthropologist Marc Aug&eacute; calls the &quot;non place&quot;. It contains everything the city rejects in the most disorderly way despite the practice of zoning, but of which it has a vital need: factories, freeways, shopping malls, airports, dormitory towns...</em> David Leyval <em>La banlieue, l&#39;&eacute;preuve de l&#39;utopie</em> &nbsp; Based on this observation, Heidi Wood has taken it upon herself to rehabilitate, not without a touch of irony, this suburbia looked upon with condescendence by inner city dwellers, with horror by the privileged or with a certain romanticism by some &quot;haves&quot;, who look fondly on these zones because they don&#39;t suffer any of its inconveniences (which amounts to being patronizing). She presents real road signs stamped with flower-pictograms (warning, prohibition?) and a monochrome architectural wall painting on which are hung paintings representing housing typical of the dormitory towns worldwide that edge up to the countryside. We could be reminded of a tourist information office but also of the showroom of a real estate developer. &nbsp; This homage to suburbs that take in everything cities reject reminds us that artists themselves are kept at a distance from the city center, although they are needed to supply the art fairs and plethora of exhibitions that are organized there all year round. This is nothing new: Erik Satie was struggling to survive in Arcueil while the bourgeois of Paris were entertained by his ballet Parade in 1917. Today, there are countless creators of all disciplines who live and work in suburbia, a sort of artist&#39;s back entrance to the center. Life takes care of reminding them that they are only suppliers. <em>La boh&ecirc;me</em> was short-lived. We are a thousand miles from that insouciance. This explains the grating aspect of Heidi Wood&#39;s pictogram images whose clinical craftsmanship cuts like a blade. &nbsp; We can describe Heidi Wood as an urban pictographer landscape painter. She draws using black masking tape so as to distance herself from gesture, to dehumanize as far as possible. This is the ultimate in anti-impressionism, stripped of all emotion. She distinguished herself previously with a series of souvenir plates printed with industrial landscapes, in a style more suited to a picturesque seaside resort. &nbsp; Note that everything is programmed in Heidi Wood&#39;s artistic production. There is no room for indecision. Everything is in its place in a sort of constructivism revisited. &nbsp; <strong>PhD</strong> [DEC MMXII]</p>',	'<p><strong>un environnement p&eacute;ri-urbain de Heidi Wood</strong></p><p>Galerie Anne Barrault, 22 rue Saint Claude, 75003, Paris</p><p>du 28 f&eacute;vrier au 13 avril 2013</p><p>&nbsp;</p><p>&laquo;&nbsp;<em>La banlieue est aujourd&#39;hui un espace ni&eacute; o&ugrave; prolif&egrave;re ce que l&#39;anthropologue Marc Aug&eacute; appelle le &quot;non-lieu&quot;, et qui est tout ce que la ville rejette, dans le plus grand d&eacute;sordre malgr&eacute; la pratique de zonage, mais dont elle a un besoin vital : usines, autoroutes, hypermarch&eacute;s, a&eacute;roports, cit&eacute;s dortoirs</em>&hellip;&nbsp;&raquo;</p><p>David Leyval</p><p><em>La banlieue, l&#39;&eacute;preuve de l&#39;utopie</em></p><p>&nbsp;</p><p>Partant de ce constat, Heidi Wood s&rsquo;est attach&eacute; &agrave; r&eacute;habiliter non sans une certaine ironie cette banlieue regard&eacute;e avec condescendance par les r&eacute;sidents du centre-ville, avec rejet par nantis ou avec un certain romantisme par certains privil&eacute;gi&eacute;s qui la consid&egrave;rent avec bienveillance car ils n&rsquo;en ont pas les inconv&eacute;nients (ce qui revient d&rsquo;ailleurs &agrave; une forme de condescendance). Au programme, de v&eacute;ritables panneaux routiers frapp&eacute;s de fleurs pictographi&eacute;es (mise en garde, interdiction&nbsp;?) et une peinture murale architecturale monochrome sur laquelle sont accroch&eacute;s des tableautins repr&eacute;sentant ces constructions pavillonnaires typiques des cit&eacute;s dortoir communes au monde entier, aux limites de la rase-campagne. On peut penser &agrave; un bureau d&rsquo;information touristique mais aussi aux locaux d&rsquo;un promoteur immobilier.</p><p>&nbsp;</p><p>Cet hommage aux banlieues qui accueillent tout ce que les villes excluent nous rappelle que les artistes eux-m&ecirc;mes en sont tenus &eacute;loign&eacute;s bien qu&rsquo;elles aient un besoin vital de ceux-ci pour alimenter les foires et les expositions pl&eacute;thoriques qui y sont organis&eacute;es &agrave; longueur d&rsquo;ann&eacute;e. Ce n&rsquo;est pas nouveau&nbsp;: Erik Satie survivait tant bien que mal &agrave; Arcueil pendant que les bourgeois parisiens se divertissaient de son ballet <em>Parade</em> en 1917. On ne compte plus aujourd&rsquo;hui les cr&eacute;ateurs toutes disciplines confondues qui vivent et travaillent en banlieue, sorte d&rsquo;<em>entr&eacute;e des artistes&nbsp;</em>de la ville. La vie se charge de leur rappeler qu&rsquo;ils ne sont que des fournisseurs. La boh&egrave;me &eacute;tait flambante. On est &agrave; mille lieux de cette insouciance. D&rsquo;o&ugrave; l&rsquo;aspect grin&ccedil;ant des pictogrammes picturaux d&rsquo;Heidi Wood dont la facture clinique s&rsquo;abat comme une lame.</p><p>&nbsp;</p><p>On peut qualifier Heidi Wood de <em>peintre paysagiste urbain pictographiste</em>. Elle dessine d&rsquo;ailleurs au moyen d&rsquo;adh&eacute;sif noir, histoire de distancier le geste, de d&eacute;shumaniser autant que possible. C&rsquo;est de l&rsquo;anti-impressionnisme absolu, d&eacute;nu&eacute; de tout affect. Elle s&rsquo;est distingu&eacute;e auparavant gr&acirc;ce &agrave; une s&eacute;rie d&rsquo;assiettes souvenir en porcelaine sur lesquelles &eacute;taient imprim&eacute;s &agrave; chaud des paysages industriels, de la m&ecirc;me mani&egrave;re que la Baie des Anges dans le Finist&egrave;re Nord par exemple.</p><p>&nbsp;</p><p>Mentionnons le fait que tout est programm&eacute; dans la production artistique d&rsquo;Heidi Wood. Il n&rsquo;y a aucune place pour l&rsquo;ind&eacute;termination. Chaque chose est &agrave; sa place dans une sorte de constructivisme revisit&eacute;.</p><p>&nbsp;</p><p><strong>PhD</strong> [DEC MMXII]</p>',	'PETITE COURONNE',	'PHILIPPE DUCAT',	'PRESS RELEASE, 2013',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'heidi-wood-petite-couronne',	'heidi-wood-petite-couronne',	'',	'',	'2018-10-19 12:37:35',	NULL,	'2018-10-19 12:37:35',	'2023-10-30 19:35:34',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1791',	0,	'doc_article',	'doc_article',	'',	0),
(1795,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2018-09-11 13:28:57',	'2018-09-11 13:28:57',	'<p>Exhibition March 7 to May 30 2015 Opening March 6 at 7 p.m. &nbsp; From March 7 to May 30 2015, Montreuil&rsquo;s contemporary art center, Le 116, presents <strong>Production Site</strong>, an ever-changing exhibition by Heidi Wood. The artist will work <em>in situ</em> throughout the exhibition space. She will also set up her studio there, thus transforming Le 116 into a creative workspace. &nbsp; <strong>Le&iuml;la&nbsp;</strong><strong>de Lagausie</strong>: This new project continues your work on the theme of suburbia. How is this subject central to your work? Does it take on a particular meaning in the context of Le 116? &nbsp; <strong>Heidi Wood:</strong> As an Australian, suburbia has always had a residential, calm, even boring image for me. So I&rsquo;m astonished to see the stigma attached to a part of town that I always thought was where everybody lived. In France, suburbia &ndash; <em>la banlieue</em> - is seen as a breeding ground for social problems. High-rise buildings have become a symbol of crime. Yet they were designed as a new way of living together that was meant to be affordable, rational and sociable. Utopia has turned into dystopia, at least in the minds of the French. &nbsp; I am interested in the fall-out from modernism, but also the promotion strategies used in tourism. I see my exhibitions as visitors&rsquo; centers for various destinations. I try to extract the essential of a given place so as to cast it in a positive light. At Le 116, I will study the urban landscape of Montreuil to highlight its qualities. For the first time, I will be working on the visual identity of a particular suburb in dialogue with the people who live there. In this way, I raise the question of how permeable an art center is to its social context. &nbsp; <strong>LL:</strong> For this exhibition, you have chosen to use part of the exhibition space as your studio. What are you looking for in this direct confrontation with the public? &nbsp; <strong>HW:&nbsp;</strong>It is an ironic look at the demands politicians make on artists to act as interpreters of their practices. I see this experience as an extension of my exhibition <strong>Use-by Date</strong> at Galerie Anne Barrault in late 2008. At the time, I announced that my paintings would be destroyed after five years if they had not been bought. The exhibition changed weekly. I highlighted the art market&rsquo;s voracious taste for the new just as the bottom fell out of the market and a profound change in context was underway. As it turned out, it was the quarter that saw the greatest economic shrinkage since the Depression. &nbsp; Since then, public money in support of art has become less plentiful. From the Ministry of Culture to municipalities, more and more demands are made of artists to explain their work to the public. Somehow, they are supposed to rub soothing ointments on situations of distress due to the global financial crisis. I have no problem with that. Yet I think it is legitimate to ask how it changes the artworks. I am submitting to this exercise as an attempt at a response. What do I make when I am acting as a social worker for the municipality of Montreuil? &nbsp; <strong>LL:</strong><strong>Production Site</strong> is taking place in a particular context, given that it is Marl&egrave;ne Rigler&rsquo;s last show as the director of Le 116. What do you think of this situation? What are the implications for your exhibition? &nbsp; <strong>HW:&nbsp;</strong>The municipality of Montreuil has chosen not to renew the contract of the curator who has been in charge, for only 18 months, of an ambitious international undertaking strongly focused on interaction with the people of Montreuil. The municipal Head of Culture has announced a reorientation in favor of local artists and local concerns. I think it&rsquo;s appalling. I find myself in the strange position of being the exhibition that marks a transition to a much-reduced venture. I hope that <strong>Production Site&nbsp;</strong>will draw attention to just what is being thrown away, and provoke a debate on the relationship between artistic expression and the political issues raised by financing it.</p>',	'<p>Du 7 mars au 30 mai 2015, Le 116 - Centre d&rsquo;art contemporain de Montreuil pr&eacute;sente &laquo;&nbsp;<strong>Production Site&nbsp;</strong>&raquo;, une exposition &eacute;volutive de Heidi Wood. &Agrave; cette occasion, l&rsquo;artiste intervient&nbsp;<em>in situ</em> dans l&rsquo;ensemble des salles d&rsquo;exposition. Elle y installe son atelier, transformant ainsi Le 116&nbsp;en ouvroir&nbsp;artistique.</p><p>&nbsp;</p><p><strong>Le&iuml;la&nbsp;</strong><strong>de Lagausie</strong><strong>&nbsp;</strong>: Ce nouveau projet, s&#39;inscrit dans la continuit&eacute; de votre travail sur le th&egrave;me de la &quot;banlieue&quot;. En quoi ce th&egrave;me est-il central dans votre d&eacute;marche artistique ? De quelle mani&egrave;re prend-t-il un sens particulier dans le contexte du 116 ?</p><p>&nbsp;</p><p><strong>Heidi Wood&nbsp;:</strong> Pour moi, australienne, la banlieue a toujours eu une image r&eacute;sidentielle, calme, voire ennuyeuse. Je suis donc &eacute;tonn&eacute;e que l&rsquo;on stigmatise un cadre de vie que j&rsquo;ai toujours cru universel. On y voit le terreau des troubles sociaux. Le grand ensemble devient symbole de d&rsquo;incivilit&eacute;s, or il a &eacute;t&eacute; con&ccedil;u comme une nouvelle fa&ccedil;on de vivre ensemble&nbsp;: abordable, rationnel, sociable. L&rsquo;utopie est devenue dystopie, du moins dans l&rsquo;imaginaire nationale.</p><p>&nbsp;</p><p>Mon int&eacute;r&ecirc;t pour les retomb&eacute;es du modernisme est doubl&eacute; d&rsquo;un int&eacute;r&ecirc;t pour les ressorts de la promotion touristique. Je con&ccedil;ois mes expositions comme des syndicats d&rsquo;initiatives pour un lieu choisi. Ici, je vais sonder le paysage urbain de Montreuil pour en vanter les qualit&eacute;s. Je cherche &agrave; d&eacute;canter l&rsquo;essentiel pour le valoriser. Cette fois, je vais travailler sur l&rsquo;identit&eacute; visuelle de cette banlieue en relation avec les gens qui y habitent. Je pose ainsi la question de la porosit&eacute; entre le centre d&rsquo;art et son contexte social.</p><p>&nbsp;</p><p><strong>LL&nbsp;:</strong> Effectivement, pour cette exposition, vous avez choisi de faire de l&#39;une des salles du 116 votre atelier. Que recherchez-vous dans cette confrontation directe avec le public ?</p><p>&nbsp;</p><p><strong>HW&nbsp;:</strong> C&rsquo;est un clin d&rsquo;&oelig;il malicieux &agrave; la demande faite aux artistes par les politiques d&rsquo;&ecirc;tre les m&eacute;diateurs de leur pratique. J&rsquo;envisage cette exp&eacute;rience comme une suite de mon exposition &laquo;&nbsp;<strong>Date limite de consommation&nbsp;</strong>&raquo; fin 2008 &agrave; la Galerie Anne Barrault. J&rsquo;ai annonc&eacute; alors que mes tableaux seraient d&eacute;truits au bout de cinq ans s&rsquo;ils n&rsquo;avaient pas trouv&eacute; acqu&eacute;reur. L&rsquo;exposition, &eacute;tait &eacute;volutive et, proposait des nouvelles mises en sc&egrave;ne de mes &oelig;uvres chaque semaine. Je soulignais le go&ucirc;t d&eacute;vorant pour la nouveaut&eacute; du march&eacute; de l&rsquo;art, au moment m&ecirc;me o&ugrave; une modification radicale du contexte se mettait en branle. En effet, c&rsquo;&eacute;tait le trimestre qui marquait le plus fort recul &eacute;conomique depuis les ann&eacute;es 30.</p><p>&nbsp;</p><p>Depuis, l&rsquo;argent public pour soutenir la production artistique s&rsquo;est rar&eacute;fi&eacute;. Du minist&egrave;re de la culture aux municipalit&eacute;s, on exige de plus en plus la pr&eacute;sence de l&rsquo;artiste, pour dialoguer et expliquer sa d&eacute;marche, mais aussi pour mettre un baume social aux situations de d&eacute;tresse li&eacute;e &agrave; la crise. Je ne suis pas hostile &agrave; cela. En revanche, je pense que l&rsquo;on peut l&eacute;gitimement se demander comment cela modifie les &oelig;uvres. Je propose de me soumettre &agrave; cet exercice pour y donner un d&eacute;but de r&eacute;ponse. Que produis-je quand je joue le r&ocirc;le de prestataire social de la Ville de Montreuil&nbsp;?</p><p>&nbsp;</p><p><strong>LL&nbsp;:</strong> &quot;Production Site&quot; prend place dans un contexte particulier, puisqu&#39;il s&#39;agit pour Marl&egrave;ne Rigler de sa derni&egrave;re exposition en tant que commissaire au 116. Quel est votre regard sur cette situation ? Qu&#39;est-ce que cela implique vis-&agrave;-vis de votre exposition ?</p><p>&nbsp;</p><p><strong>HW&nbsp;:&nbsp;</strong>La municipalit&eacute; a choisi de ne pas renouveler le contrat de la directrice artistique, qui porte depuis 18 mois seulement un projet ambitieux, ouvert &agrave; l&rsquo;international et fortement port&eacute; sur la m&eacute;diation avec le public de Montreuil. L&rsquo;&eacute;lue &agrave; la culture annonce un recadrage en faveur des artistes et des enjeux locaux. Je trouve que c&rsquo;est d&eacute;plorable. Je me trouve donc dons une situation &eacute;trange d&rsquo;&ecirc;tre l&rsquo;exposition de transition vers un projet r&eacute;duit. J&rsquo;esp&egrave;re que &laquo;&nbsp;<strong>Production Site&nbsp;</strong>&raquo; peut &ecirc;tre l&rsquo;occasion d&rsquo;un bilan du travail r&eacute;alis&eacute; au 116 et provoquer un d&eacute;bat sur la relation entre l&rsquo;expression artistique et les enjeux politiques de son financement.</p>',	'PRODUCTION SITE',	'LEÏLA DE LAGAUSIE',	'PRESS RELEASE, 2015',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'production-site',	'production-site',	'',	'',	'2018-10-19 12:35:34',	NULL,	'2018-10-19 12:35:34',	'2023-10-30 16:38:23',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1795',	0,	'doc_article',	'doc_article',	'',	0),
(1798,	NULL,	8,	NULL,	NULL,	NULL,	3,	'2021-09-11 13:36:23',	'2021-09-11 13:36:23',	'<p>March 7 &ndash; May 30 2015&nbsp;</p><p>&nbsp;Let&rsquo;s take a walk in the Woods. We pass through forests of symbols with no mixed messages. Quite the contrary, everything is there, spread over the walls and even the floor. We won&rsquo;t get lost. The exhibition &ldquo;Production Site&rdquo; takes us to Le 116, Montreuil&rsquo;s art center, to see the buildings that inhabit Montreuil but in a different way: as wall paintings that look like giant stickers in primary colors. Outside has come inside. The city is reduced to its signage, to a group of signs and pictograms that erase experience, or to be exact, cover it up. The forms are minimal, essential. They are the means by which Heidi Wood mimes an art that supposedly sprinkles wellbeing, by &ldquo;redeeming&rdquo; or &ldquo;transcending&rdquo; reality, allowing visitors to see their everyday life differently. More biodynamic, more vibrant, in lemon yellow and tomato red. But at the same time, the artist&rsquo;s work is also kept at a distance because the urban landscape appears as a group of signs that refer back only to themselves. &nbsp; In fact, Heidi Wood&rsquo;s work, even if it uses artifacts to which we can legitimately apply categories of judgment and taste and find sensorial pleasure in, is also conceptual. With &ldquo;Production Site&rdquo;, the artist consciously fulfills a well-known contract: public money (modestly) finances a commission as long as it meets criteria of &ldquo;casting a positive light&rdquo;, encouraging &ldquo;social cohesion&rdquo; and focusing on the &ldquo;local&rdquo;, particularly in disadvantaged neighborhoods. <em>&ldquo;I embody these clich&eacute;s to play the role of the official artist,&rdquo;&nbsp;</em>says Wood.<em>&nbsp;&ldquo;I&rsquo;m trying to draw attention to the fact that if they are prerequisites for financing and exhibiting art, they will hamper diversity and reduce ambitions.&rdquo;</em>&nbsp; &nbsp;The most striking example of this reduction would seem to be the series of souvenir plates, like collectors&rsquo; items of yesteryear, that are presented under glass in the second room. The expected picturesque kitsch has been replaced by images of high voltage electrical towers in a minimal impressionist style. Except that in truth, there is no irony here. More an echo of the bemoaning (and hope) of the writer C&eacute;line in <em>Death on the Installment Plan: &ldquo;The day they remove the hook-shaped lamp post from the corner by Number 12, I&rsquo;ll be very sad. Man is temporary, I know that, but we&rsquo;ve already temporized enough for my money. (&hellip;) Things seem pretty crummy, but if they could carry us away with them, we&rsquo;d die of poetry.&rdquo;<a href=\"#_ftn1\" name=\"_ftnref1\"><strong>[1]</strong></a></em>&nbsp; &nbsp;This effort to put intimacy back into manufactured objects is inscribed in a project begun in 2010 in Chevilly-Larue called &ldquo;Winter Vacation&rdquo;. At the time, Heidi Wood asked residents to bring personal objects for her to draw and used the images made of them on pencil cases, posters and various gadgets sold at the Christmas market. Without finding many customers. We are so &ldquo;deprived of the world&rdquo;, to use the expression of philosopher Franck Fischbach, that the objects with which we live no longer look to us like the world. They become squalid, unworthy of being loved. &nbsp; So the urban landscape Heidi Wood paints at Le 116 is not a joke. It is parody but in the literal sense, to be sung next to the ode in a well-known tune. It highlights given that re-enchanting is out of the question. The artist works from photographs, analyses, sorts through, &ldquo;filters out&rdquo;, she says, until she obtains &ldquo;generic&rdquo; forms that do not necessarily correspond to real buildings but rather to a residential setting as a whole. In Montreuil, those she notices from recent times are the modern high-rise, the contemporary and the industrial. Among other things, Wood offers studies of facades in which she indicates an opposition between an organization based on &ldquo;grid&rdquo; and &ldquo;anti-grid&rdquo;. An example of the latter, in the last decade, is the random distribution of windows onto interweavings of color. Because these studies are painted on upholstery fabric, the facade is decoration on two levels: as surface but also as transformation. Heidi Wood says that her paintings are destroyed if they are not bought within five years. This is coherent with the contrary strategy visitors can see at Le 116 of an ever-changing exhibition. The artist develops her wall paintings day after day, adds her &ldquo;generic&rdquo; buildings and changes them into engines, as if form necessarily produced form. &nbsp; This is one of the meanings of &ldquo;Production Site&rdquo;: a factory of forms. Montreuil goes in one end, through the eye, through the photo, and continuously, throughout the exhibition, comes out the other as a painting. Even better, the artist is on-site. She has set up her studio in the middle, in the passageway between the two main exhibition spaces in Le 116. She works there during opening hours, or at other times, it depends. As <em>&ldquo;a social worker for the municipality of Montreuil&rdquo;,</em> Wood legitimately wonders what this situation changes in her work, what she produces on top of a series of artifacts or a performance. A presence? Interaction? &nbsp; If it is clear that art does not fix anything, does not improve anyone&rsquo;s social condition, perhaps it can at least be driven by a vital principle as a gesture, an impulse, to make itself shareable. What is shared here, more than the artwork is the work that goes into it. With Heidi Wood, we are a long way from the &ldquo;participative&rdquo; art of the 1990&rsquo;s. Visitors do not play with elements to be &ldquo;activated&rdquo; or &ldquo;reactivated&rdquo;. They arrive at a production site where what is produced (or displayed) is the production itself and they see that the artist is a factory worker like any other. &nbsp;&nbsp;</p><p><strong>Eric Loret</strong> April 2015 &nbsp;&nbsp;</p><p><br></p><p><a href=\"#_ftnref1\" name=\"_ftn1\">[1]</a><em>Mort &agrave; credit,</em> Louis-Ferdinand C&eacute;line, 1936. <em>Death on the Installment Plan</em>. Translation Ralph Manheim, 1971</p>',	'<p>7 mars &ndash; 30 mai 2015</p><p>&nbsp;</p><p>Promenons-nous dans les Wood. On y passe &agrave; travers des for&ecirc;ts de symboles dont les paroles ne sont pas confuses, au contraire. Tout est l&agrave;, &eacute;tal&eacute; sur les murs, et aussi sur le sol. On ne se perdra pas. Avec l&#39;expo &laquo; Production Site&nbsp;&raquo;, on vient au 116, le centre d&#39;art de Montreuil, pour voir les b&acirc;timents qui peuplent Montreuil mais autrement, en <em>wall paintings&nbsp;</em>qui ressemblent &agrave; des stickers g&eacute;ants aux couleurs primaires. L&#39;ext&eacute;rieur est &agrave; l&#39;int&eacute;rieur&nbsp;: la ville est r&eacute;sum&eacute;e &agrave; sa signal&eacute;tique en aplats, un ensemble de panneaux et pictogrammes qui en effacent le v&eacute;cu ou, plus pr&eacute;cis&eacute;ment, le recouvrent. Car les formes en sont &eacute;pur&eacute;es, r&eacute;v&eacute;l&eacute;es, en quoi Heidi Wood mime la fonction d&#39;un art qui fait suppos&eacute;ment du bien par o&ugrave; il passe, en &laquo;&nbsp;r&eacute;dimant&nbsp;&raquo; ou &laquo;&nbsp;relevant&nbsp;&raquo; le r&eacute;el, en permettant au visiteur de voir son quotidien autrement, plus bio, plus dynamique, de voir la vie en jaune citron et rouge tomate. Mais dans le m&ecirc;me temps, le travail de l&#39;artiste est &eacute;galement distanci&eacute;, puisque l&#39;urbanisme y appara&icirc;t comme un ensemble de signes ne renvoyant qu&#39;&agrave; eux-m&ecirc;mes.</p><p>&nbsp;</p><p>De fait, l&#39;&oelig;uvre de Heidi Wood, m&ecirc;me si elle se d&eacute;ploie en artefacts auxquels on peut, &agrave; juste titre, appliquer des cat&eacute;gories du jugement de go&ucirc;t et trouver un plaisir sensoriel, est aussi conceptuelle. Avec &laquo;&nbsp;Production Site&nbsp;&raquo;, l&#39;artiste remplit en le d&eacute;tournant un contrat bien connu&nbsp;: l&#39;argent public finance (pas tr&egrave;s haut) une commande pourvu que celle-ci r&eacute;ponde aux exigences de &laquo;&nbsp;valorisation&nbsp;&raquo; du &laquo;&nbsp;lien&nbsp;&raquo; social et du &laquo;&nbsp;tissu&nbsp;&raquo; urbain local. &laquo;&nbsp;<em>J&rsquo;incarne ces clich&eacute;s pour jouer le r&ocirc;le de l&rsquo;artiste officiel,&nbsp;</em>s&rsquo;amuse Wood<em>. J&rsquo;essaie d&rsquo;attirer l&rsquo;attention sur le fait que si on en fait une condition pr&eacute;alable pour le financement et l&rsquo;exposition de l&rsquo;art, on aboutira &agrave; une diminution du champ des possibles et &agrave; une r&eacute;duction des ambitions.</em><em>&nbsp;&raquo;</em></p><p>&nbsp;</p><p>L&#39;exemple le plus frappant de cette r&eacute;duction para&icirc;t a priori &ecirc;tre une s&eacute;rie d&#39;assiettes-souvenirs comme on en collectionnait jadis, pr&eacute;sent&eacute;e dans une vitrine au fond de la deuxi&egrave;me salle&nbsp;: le pittoresque kitsch attendu y a &eacute;t&eacute; remplac&eacute; par des images de pyl&ocirc;nes &eacute;lectriques en version minimale et impressionniste. Sauf qu&#39;en r&eacute;alit&eacute;, il n&#39;y a pas vraiment d&#39;ironie ici. Plut&ocirc;t un &eacute;cho &agrave; cette d&eacute;ploration (et cet espoir) de l&#39;&eacute;crivain C&eacute;line dans <em>Mort &agrave; Cr&eacute;dit</em> : <em>&laquo;&nbsp;Celui qui changera le r&eacute;verb&egrave;re crochu au coin du num&eacute;ro 12 il me fera bien du chagrin. On est temporaire, c&rsquo;est un fait, mais on a d&eacute;j&agrave; tempor&eacute; assez pour son grade.</em> (&hellip;) <em>Si les choses nous emportaient en m&ecirc;me temps qu&rsquo;elles, si mal foutues qu&rsquo;on les trouve, on mourrait de po&eacute;sie.&nbsp;&raquo;</em></p><p>&nbsp;</p><p>Cet effort pour remettre de l&#39;intimit&eacute; dans les objets manufactur&eacute;s s&#39;inscrit dans un projet commenc&eacute; en 2010 &agrave; Chevilly-Larue et intitul&eacute; &laquo;&nbsp;Vacances d&#39;hiver&nbsp;&raquo;. A l&#39;&eacute;poque, Heidi Wood avait demand&eacute; aux Chevillais de lui apporter des objets personnels, dont elle avait d&eacute;clin&eacute; les images sur des trousses &agrave; crayons, des affiches, des gadgets divers vendus au march&eacute; de No&euml;l. Sans trouver preneur, toutefois, tant la &laquo;&nbsp;privation de monde&nbsp;&raquo;, pour reprendre l&#39;expression du philosophe Franck Fischbach, est effective&nbsp;: les objets avec lesquels nous vivons ne font plus pour nous &laquo;&nbsp;monde&nbsp;&raquo;. Ils sont litt&eacute;ralement immondes, ne nous semblent pas dignes d&#39;&ecirc;tre aim&eacute;s.</p><p>&nbsp;</p><p>Donc, le paysage urbain que Heidi Wood peint au 116 n&#39;est pas une plaisanterie&nbsp;: tout en &eacute;tant parodique, il l&#39;est au sens litt&eacute;ral, pour &ecirc;tre chant&eacute; &agrave; c&ocirc;t&eacute; de l&#39;ode, sur une musique connue, pour rechampir &agrave; d&eacute;faut de r&eacute;enchanter. L&#39;artiste travaille &agrave; partir de photographies, analyse, trie, &laquo;&nbsp;d&eacute;cante&nbsp;&raquo;, dit-elle, jusqu&#39;&agrave; obtenir des figures &laquo;&nbsp;g&eacute;n&eacute;riques&nbsp;&raquo; qui ne correspondent pas n&eacute;cessairement &agrave; des b&acirc;timents r&eacute;els, mais &agrave; un habitat. Pour la p&eacute;riode r&eacute;cente, ceux qui se rep&egrave;rent de toute &eacute;vidence &agrave; Montreuil sont le moderne collectif, le contemporain et l&#39;industriel. Wood propose entre autres des &eacute;tudes de fa&ccedil;ades, o&ugrave; elle pointe l&#39;opposition entre l&#39;organisation en &laquo;&nbsp;grille&nbsp;&raquo; et celle en &laquo;&nbsp;antigrille&nbsp;&raquo;&nbsp;: par exemple, pour ce second cas, de la derni&egrave;re d&eacute;cennie, les fen&ecirc;tres jet&eacute;es sur des imbrications de couleur. Ces &eacute;tudes &eacute;tant peintes sur du tissu d&#39;ameublement, il y a doublement de la fa&ccedil;ade comme d&eacute;cor, comme peau, mais aussi comme mue&nbsp;: Heidi Wood indique que ses tableaux, quand ils ne sont pas achet&eacute;s, sont d&eacute;truits au bout de cinq ans. Un geste coh&eacute;rent avec celui, inverse, que les visiteurs peuvent voir au 116, puisque l&#39;exposition &eacute;tant &eacute;volutive, l&#39;artiste d&eacute;veloppe ses peintures murales jour apr&egrave;s jour, fait cro&icirc;tre ses b&acirc;timents &laquo;&nbsp;g&eacute;n&eacute;riques&nbsp;&raquo;, les transforme en moteurs, comme si la forme produisait n&eacute;cessairement de la forme.</p><p>&nbsp;</p><p>C&#39;est un des sens du titre &laquo;&nbsp;Production Site&nbsp;&raquo;&nbsp;: une usine &agrave; formes. Montreuil rentre d&#39;un c&ocirc;t&eacute;, par l&#39;&oelig;il, par la photo, il ressort en peinture de l&#39;autre c&ocirc;t&eacute;, contin&ucirc;ment, pendant la dur&eacute;e de l&#39;expo. Mieux, m&ecirc;me&nbsp;: l&#39;artiste est pr&eacute;sente sur place, elle a am&eacute;nag&eacute; son atelier au milieu, dans le passage entre les deux salles principales du 116. Elle travaille durant les heures d&#39;ouverture au public, ou en dehors, c&#39;est selon. En tant que &laquo;&nbsp;<em>prestataire social de la Ville de Montreuil&nbsp;&raquo;,&nbsp;</em>Wood se demande donc l&eacute;gitimement ce que cette situation change &agrave; son travail, ce qu&rsquo;elle produit, en plus d&rsquo;une s&eacute;rie d&rsquo;artefacts ou d&rsquo;une performance. De la pr&eacute;sence&nbsp;? Du lien&nbsp;?</p><p>&nbsp;</p><p>La r&eacute;ponse est que, s&#39;il est clair que l&#39;art ne r&eacute;pare rien, n&#39;am&eacute;liore la situation sociale de personne, peut-&ecirc;tre peut-il au moins se donner comme principe vital, comme geste, comme &eacute;lan, se rendre partageable. Car ce qui se partage avant tout, plus que l&#39;&oelig;uvre, c&#39;est le <em>travail</em>. On est loin avec Heidi Wood de l&#39;art &laquo;&nbsp;participatif&nbsp;&raquo; des ann&eacute;es 90, cependant&nbsp;: les visiteurs ne jouent pas avec des &eacute;l&eacute;ments &agrave; &laquo;&nbsp;activer&nbsp;&raquo; ou &laquo;&nbsp;r&eacute;activer&nbsp;&raquo;. Ils arrivent sur un chantier de production, o&ugrave; ce qui se produit (se met en sc&egrave;ne) est la production m&ecirc;me et ils voient, simplement, que l&#39;artiste est un o(e)uvrier comme un autre.</p><p>&nbsp;</p><p><strong>Eric Loret</strong></p><p>avril 2015</p>',	'PRODUCTION SITE, Le 116, Montreuil',	'ERIC LORET',	'PRODUCTION SITE, 2015',	'',	'',	'',	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	NULL,	'',	'publish',	0,	'closed',	'closed',	'',	'production-site-le-116-montreuil',	'production-site-le-116-montreuil',	'',	'',	'2022-01-04 11:21:25',	NULL,	'2022-01-04 11:21:25',	'2023-10-31 11:00:51',	'',	0,	'http://s653906673.onlinehome.fr/?post_type=doc_article&#038;p=1798',	0,	'doc_article',	'doc_article',	'',	0),
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