Volte-face
Polyptyque, tirages au jet d’encre pigmentaire, entre 23 x 20 et 50 x 40 cm, dont quatre sous passe-partout, exposés en dialogue avec une photographie d’Antoine Bourdelle
Série réalisée dans le cadre de l'exposition Ce qui fut, ce qui est, musée Bourdelle, Paris, du 4 mars au 27 juillet 2025
U-TURN — Polyptych, pigment inkjet prints, between 23 x 20 and 50 x 40 cm, four of which are matted, exhibited in dialogue with a photograph by Antoine Bourdelle
Series created for the exhibition Ce qui fut, ce qui est, Musée Bourdelle, Paris, March 4 - July 27, 2025
Série réalisée dans le cadre de l'exposition Ce qui fut, ce qui est, musée Bourdelle, Paris, du 4 mars au 27 juillet 2025
U-TURN — Polyptych, pigment inkjet prints, between 23 x 20 and 50 x 40 cm, four of which are matted, exhibited in dialogue with a photograph by Antoine Bourdelle
Series created for the exhibition Ce qui fut, ce qui est, Musée Bourdelle, Paris, March 4 - July 27, 2025
Les réserves du musée Bourdelle conservent de très nombreux moules, qui permettent de tirer plusieurs épreuves en plâtre d’un même modèle. Nécessaires au processus de démultiplication de la sculpture, ces formes hétérogènes ressemblent à d’étranges chrysalides. Isabelle Giovacchini a exhumé des réserves plusieurs moules en vertu de leur ressemblance avec un visage, de leur conformation énigmatique ou de leur inscription (« Nuage ») qui, sans conformité avec la forme apparente, évoque la veine absurde de René Magritte. Photographiés dans la pâleur lumineuse de l’un des anciens ateliers du musée, ces moules forment une inquiétante galerie de figures apparaissantes, à l’image de la Muse de marbre que Bourdelle photographia afin d’en immortaliser la pratique, et donc la naissance.
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The storage rooms of the Musée Bourdelle house countless molds, designed to produce multiple plaster casts from a single model. Essential to the reproduction process of sculpture, these heterogeneous forms resemble curious chrysalises. Isabelle Giovacchini unearthed several of these molds, drawn to them by their resemblance to human faces, their enigmatic contours, or inscriptions such as "Nuage" ("Cloud"), which — much like the absurd poetry of René Magritte — stand at odds with their apparent form. Photographed in the pale, luminous glow of one of the museum’s former studios, these molds compose an uncanny gallery of emerging faces, echoing Bourdelle’s own Muse de marbre (Marble Muse), which he photographed to immortalize both his process and the birth of his creations.
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The storage rooms of the Musée Bourdelle house countless molds, designed to produce multiple plaster casts from a single model. Essential to the reproduction process of sculpture, these heterogeneous forms resemble curious chrysalises. Isabelle Giovacchini unearthed several of these molds, drawn to them by their resemblance to human faces, their enigmatic contours, or inscriptions such as "Nuage" ("Cloud"), which — much like the absurd poetry of René Magritte — stand at odds with their apparent form. Photographed in the pale, luminous glow of one of the museum’s former studios, these molds compose an uncanny gallery of emerging faces, echoing Bourdelle’s own Muse de marbre (Marble Muse), which he photographed to immortalize both his process and the birth of his creations.
Tirage original provenant du musée Bourdelle :
