2023-04-24 18:06:54
A silhouette of Daniel Firman. Courtesy Ceysson & Bénétière and Daniel Firman. Photo by Aurélien Mole © ADAGP, Paris, 2023.
CRITICISM – This ultrafigurative discipline, long considered too faithful to reality to be noble and museum-like, is experiencing a resurgence of love. After the Maillol Museum and the Beyeler Foundation, the Nantes Arts Museum offers to make us think, with “Hyper sensible”, by staging the body.
Special correspondent in Nantes (Loire-Atlantique)
And suddenly, hyperrealism is everywhere. Last September, the Maillol Museum opened fire in Paris with “Hyperréalisme. This is not a body”, a sort of ghost train in some forty spectacular works, from John DeAndrea to Erwin Wurm, from Maurizio Cattelan to Fabien Mérelle, plunged like monsters into the shadows of mystery. All these sculptures scrutinized the body as closely as possible. They were often believed like sex, vanity, old age and death. The prestigious Beyeler Foundation in Basel went one better in October by celebrating its 25th anniversary, its 100 exhibitions and its 1000 cultural events, in a truly iconoclastic way. She humorously placed thirteen hyper-realistic sculptures by the American artist Duane Hanson (1925-1996) in front of a hundred of his masterpieces. A window cleaner, a gardener on his garden tractor, an overwhelmed mother with a baby and a stroller, the artist’s children, very 1970s, face…
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