Artboard 12
Focus On

5.06.2017 - 18H19 by La peau de l’ours

Focus On Hermans & Kool by Plantin-Carrenard

Our art influencer, Bruno-Plantin Carrenard, presents us his vision of the artists’ works in his curatorial selection.


Is it the warrior society on one side and the military society on the other? An artist is someone that stares at the unfathomable chasm of death (a very regimental vision) and what we contemplate cannot overwhelm us. But when a work goes beyond this contemplation, it becomes fascination.

To those that say art is dead, I say that art is the risk of certain death in an ultra-safe world.

20th century art contains this fascination for destruction, in which it loses its objectification for expense, loss: art is today one of the rare acts of consummation over consumption.

To those that say art is dead, I say that art is the risk of certain death in an ultra-safe world.

I understood the fascination with Basquiat, who consumes like an Aztec warrior because « the battle for freedom must be led with rage » (Saint Just), all the way through to his endless, uncalculated, destructive cruelty, and the fascination with Warhol, as a military commander, ordered, calculated and sexy.

For Fabrice Hermans, take the work 911 or consume.

An entire fender from a new Porsche 911. Sandblasted, sanded and painted in a calf-blood red.The work, a wall sculpture like a painting, is hung with butcher’s hooks to a stainless-steel rail.

The material is smooth and cold but in the colour of death. It is rendered sensual by our desire to touch it. Obviously sexy and even sexual. A clear reference to Crash! from J.G. Ballard:

« I’m interested in what touches the depths of human psychology, this simultaneous need for security and extreme violence. We live, for example, in a world where the car is king despite causing hundreds of thousands of deaths every year. I’m interested in trying to understand why mankind is fascinated and perverted by these machines» explained Ballard at the release of his novel in 1973.

...as if his body was crystallizing, at last escaping out of this uneasy set of dimensions into a more beautiful universe.

The form is as revealing as the content: I like the sculptor Hermans way of investigating the verticality of his work: from the totem-like pill boxes to the cars crushed on walls. In a sense, he prevents the artwork from being decorative.

There’s a lot to say.

And little time. But the loving language of fireflies in the work Tableau 2 will inspire you once night falls…

As for Arnaud Kool, he is one of these artists who, after tackling Street Art, the art of consummation dear to warrior societies, tackles studio work with a fully explicit question in the piece sans titre (untitled)***: why the city?

After painting on walls, he then painted walls so he could paint on top of them, with the destructive act of projecting paint (from spray cans !) onto Neo-Classic architectural sketches.

The format is obviously monumental: precise, straight, military, black and white, technical lines are confronted with abstract, colourful, invasive, intrusive and slowly destructive forms, like a forest devouring the buildings of an ancient civilization.


Photos : Miles Fischler