ATELIER LK' | Instaflux

Ambassade numérique 💾, carnet de voyage 📓, manifeste esthétique 📢 et journal poétique 📝 ce compte Instagram est actif 🔥 depuis mars 2020 😉.

leo.lefort

Dans mes temps “morts”, reprendre la lecture d

“We need space, distance, and perspective to con

And back to square one.

Il y a quelques jours, je me remémorais un excell

From my walks in the Valais, images, patterns, and

Not sure what I did last week, but on June 12th, ‘99, the 48th Venice Biennale opened, and those evenings are still crystal clear in my mind. Szeemann’s direction and dAPERTutto as the theme—an iconic lineup* any curator would dream of. Golden Lions went to Bourgeois, Nauman, Aitken, Cai Guo-Qiang, and Shirin Neshat. Many pieces struck me: Belgium’s Pavilion with Janssens & François, Abramovic’s performance, Holzer’s projections, among others.

One epiphany stands out. Though I’m a die-hard for silver-screen cinema, I don’t usually sit in dark rooms for video installations. But Drawing from Stereoscope, animated charcoals by an ‘emerging’ @williamkentridgestudio, floored me. I’d just arrived in Addis for a 16-month project (which stretched to 16 years) and was exploring complex issues around race and belonging. While Ethiopia never experienced colonisation in the same way other African nations did, Kentridge’s Soho Eckstein series, with its semi-autobiographical tycoon and artist alter-ego Felix Teitlebaum, revealed the existential weight of life in South Africa. I was mesmerized, even recorded the films to show artists and students at the School of Fine Arts, where I was teaching. Kentridge’s works were a "cas d’école" for me, an unprecedented stance in the art world : cinematic like Spike Lee, graphic like Art Spiegelman, executed like a Rembrandt, poignant like a Bacon and moving like the moves of Merce Cunningham.

Since then, I’ve followed Kentridge’s poetic, opera-like works, from retrospectives to Centre for the Less Good Idea. Now, with his new film series, "Self-Portrait as a Coffee Pot", I know exactly what I’ll be doing tomorrow...

Szeemann brought : @aiww, @ghadaamer, Basquiat, @fondsjeanpierrebertrand, Brey, Burden, Lee Byars, @caistudio, @mauriziocattelan_officiel, Chen Zhen, @reneecoxsoul, @wimdelvoye, @studioolafureliasson, Fischli/Weiss, @mmichel_francois, @piafries_, @dominiquegonzalezfoerster, @douglasgordonart, @thomashirschhorn_official, @jennyholzerstudio, Yong Ping, @garyhumestudio, Huyghe, @annveronicajanssens, Kippenberger, Marclay, McCarthy, Neuhaus, Polke, Rhoades, @pipilotti_rist_studio, Roth, Signer, @tiravanija_team_cm, Trockel…

Il disait du cinéma que c’est une ‘forme qui

And then, it’s departure time. @PADLondon was t

Was wondering this morning [while contemplating th $Was wondering this morning [while contemplating the options for today’s delights] if the plethora of visual temptations offered at @FriezeLondon would nurture (or suit a minima) my soul? Pondering the pros [see outstanding works of art, observing trends and assessing dynamics, maybe even finding some sort of inspiration] and cons [gonna be crowded like Borough Market on a blooming spring Sunday noon, struggle with a lengthy and overpriced cab ride, ain’t gonna be offered a coupe de Ruinart like Wednesday’s VIP preview…], we opted to walk to the @WhitechapelGallery. That was a smart move. Seeking a quieter, more intimate encounter with art felt right, and being welcomed by Édouard Glissant’s writing was very comforting too: “The archipelago is diffracted, fractal, necessary in its totality, fragile or contingent in its unity, passing through and remaining, it is a state of the world.” If one considers that with our capacity to move from one place to another through an extremely interconnected network of transportation (trains, cabs, buses, cars, airplanes…), then the very meaning of archipelagos as clusters of distinct but connected islands applies to the diffracted spaces of our current era. The lift took us to the first floor, where we landed in the exhibition dedicated @PeterKennardx work. His political imagery and stark visual metaphors cut through the mind like sharp blades. Blown away by the impromptu encounter and deeply moved by the powerful series, finely curated into meaningful and immersive sections featuring the ‘archive of dissent’, I was reminded that far from being a "bête de foire" I was more of an activist likely to be magnetized by this kind of visceral art that forces you to pause and wonder. If art is about confronting us with uncomfortable truths, shaking us from complacency, and making us feel the world more deeply—while being moved by both formal beauty and a radical aesthetic—then this exhibition truly exemplifies the power of art at its finest. A deep trace left in our reality. A subtle and physical scar. A ferocious poem by the finest weaver of ink and paper.$

"A bad day in London is still better than a good d

Heads-up and memorabilia. @V&A, National Gallery,

One of my favorite street tag of all time was disc

Storytelling through randomly (!!!) curated dispos

Dans nos esprits, parfois, il y a des collisions q

Et notre vocation primaire à esquiver les mirages

Studio time. "L'enclenchement décisif de la pens

+ Suivre sur Instagram