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MAGAZINE N 51, PAGE 18
WOUND
Angleterre, trimestriel, 192 p., n o 7, 230 x 300 mm,
16,95 euros.
Editor in chief: Francis Malone
Fashion director: Laurent Dombrowicz
Art director: Linda Elander
Design director: Vita Piccolomini
Publisher: Wound media
woundmedia.com
Un magazine indépendant, de 200 pages, au papier
luxueux, avec quatre couvertures différentes pour
un même numéro… ça frise l’indécence en temps
de crise. Mais Wound (blessure) n’en a cure, puisque
malgré la plaie, le combat a dû être victorieux.
Côté image : une débauche de séries lisses et maîtrisées,
très voire trop construites, toutes pourtant
de photographes différents. C’est une ligne plus bas
que réside l’explication : Laurent Dombrowicz, le
fashion editor, est de toutes les séries ou presque.
Styliste de mode réputé, il fait donc briller son image
aux yeux de ses clients pour mieux les séduire,
et joue au courtisan, pour tenter d’être désiré à son
tour. Une fois la mécanique démontée, le contenu.
Un thème : la grande illusion, et quatre sections :
art, mode, architecture, design (original…). Beaucoup
de textes cela dit, révérencieux avec les marques,
plus libre avec les artistes (voir l’interview
de Wim Delvoye en extrait). Wound fait penser à
un menu, duquel serait proscrits sel, poivre, épices,
graisses et même vin. Je me demande si je ne préfère
pas le consumer de McDo.
Extrait
INTERVIEW
Kate Mayne speaks with Wim and learns all
about digestion, pigs and his plans for a challenging
new tower at this year’s Venice extravaganza.
He is internationally renowned for his Cloaca
machines that replicate the human digestive
system; they take in food like humans do, and
deliver a perfectly formed turd onto a plate at
the end of the digestion process. Delvoye has
caused outrage amongst those who care for animal
rights, by tattooing the backs of pigs as if
they were biker’s back, and then, by analogy, tattooing
a human’s being back as well according to
a similar motif. The pig’s skins are stretched and
sold after the animal has been slaughtered. The
same fate awaits Tim’s back after his death. Tim
is a friend of Delvoye; a relationship that grew
out of the model/tattooist relationship facilitated
by Delvoye’s practice. When Tim dies, his tattooed
back will become the property of a collector,
a sale that has already been established
by contract. Patterning seems rife amongst the
output of Wim Delvoye, as his work tends to
marry elements that are at odds with each other,
in such a way that nevertheless merge successfully,
putting the viewer in a position of simultaneous
recognition of incompatible parts. For
an artist whose earlier works included football
posts lined with traditional looking stained glass
windows, and gas canisters painted in patterns
of delft blue tiling, his work transpires to be far
more consistent than a first glance would seem
to suggest. The work seems to court controversy,
which tends to make Delvoye a kind of
bad boy of the art world.
[…] Kate Mayne p. 143