For the 2018 edition of “Young Talents“, we have decided to invite an artist to realise a work that adheres to the philosophy of the Affordable Art Fair, which is intended to make art accessible to the largest number of people.
La peau de L’ours has chosen to invite the Dutch artist Fabrice Hermans. Thus, the visual artist has created “Politic of Health” specially for the occasion, a limited series of medicine bottles weighing more than a kilo and a half.
Based on the original work, “I feel like a machine” (a giant vial of hydrocortisone pills), the series addresses the topic of the pharmaceutical industry and the consumption of medications from a point of view that is both personal and sarcastic.
“Politic of Health” also addresses another form of dependency, this time financial, that of patronage. The proceeds from the sale of this limited series will be used to finance the next work by the artist.
Our curator, Bruno Plantin-Carrenard, who presented the artist at the time of his first curatorial selection for La peau de L’ours sets out below his vision of this latest artistic project by Fabrice Hermans.
Fabrice Hermans is a sculptor of urgency who erects totems of medicine
Medicine bottles are stable receptacles for pills, from the Latin Pilula, pellets, those small, round, smooth objects that slide down and are often seductive and which need to be imprisoned with care lest they should escape.
Has the bottle become the pedestal for these sometimes deceptive substances: “swallow the pill.” They are deceptive and farcical, like the art and the life that Fabrice Hermans captures by erecting totems in the way one constructs bell towers.
We need to know how to deal with these pill bottles. Life may depend on them and our consumer society is commercially monopolised by this life and death dependency. But what is a bottle of pills made of aluminium that will never open? Is it an object charged with the meaning of life or does it recall the need to be able to endure with patience a disagreeable dose, as we say “to swallow the pill”? Does it recall the skull of “vanity,” the anamorphosis of Hans Holbein in the Ambassadors, which reminds the living, as powerful as they may seem, that we need to remain humble in the face of death of which we are reminded at each instant.
The pill bottle, a Vanity for modern times.