Renault Trafic – hisk

13 May 2015 | Author: | Comments Off on Renault Trafic – hisk


Renault Trafic

RENAULT #8211; KARL PHILIPS

A project in Bois de Boulogne, one of the and most famous parks in

Starting point being an objective observing of public and sensing its inherent (social) and solutions, Karl Philips and rearranges elements of this structure. He takes a dynamic characterized by his searching for the edge. marginal position gives him an view but also confronts him limitations, thus causing pragmatic and intuitive reactions.

You may this as an expression of basic instinct.

After a long history and facelifts, the Bois the Boulogne was its present shape by Napoleon III in Nowadays, the park is an ideal for those who like walking at or cycling along the paths by trees, bushes and small However, once you leave paths, you enter a hidden of Paris outcasts, homeless and junkies who built their with garbage and waste between and behind the bushes.

with the leftovers from setting, they withdrew the park and claimed their own

After sunset the park into a notorious place for tourism.

In order to get rid of such there have been attempts in the past to ban prostitution, as the initiative taken by president This made prostitutes to the paths in the woods. Renault vans, the cheapest delivery in France, were parked by alongside the road, a prostitute behind the wheel, clients being served in the back of the

This explains the Renault standing for … in underground

In his #8216;Renault Traffic #8217;project, Philips parked three Traffic vans, 1983 alongside the road in Bois de As is the case with most parked there, tires punctured and wheel axes supported by stones. This the vehicles and bestows a sculptural on the lot.

The supporting elements became socles. The doors were by the artist. This type of and choices confirm the emphasis on of shapes and the specific coding of phenomena instead of an emphasis on the as such.

The overall view an acute sense of objectivity, is emphasized again by the artist in his action: he dumps (temporarily) the structure being a vehicle, the road. The sculpture becomes of the context and the background. The Renault is literally taking its place in the already associated with, involuntary.

Polyester moulds were of the interior of the Renaults. In the shape of sculptures, they remind or the context, arouse the imagination of the

A hidden structure is exposed and is by the artistic intervention.

First of all, it is arousing the and the curiosity of the spectator. An immanent and attraction is irrefutable. But the project enters into dialogue history: in 1863 the same at the same location was treated by Manet in his painting #8220;Le sur l#8217;herbe#8221;.

In a subtle way, project marks a hidden France would rather get rid of.

The Philips statement, though formalism, is evidence of a strong to experience empathy. From perspective, there is a neat of man, such as in a memorial or a An aspect not easily accepted in art.

The hidden character of the #8220;underground#8221; the language of symbols to evolve.

In way criminality gets a formal almost purely functional and though at the same time ingenuity and creativity. The line scrap dealer and artist is hazy, thus providing room for the artist to function, lapsing into clich#233;d and ideals. The artist claims the in which he wants to exist.

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