Lia Pradal, basée dans les Pyrénées, est une artiste, éditrice et graphiste diplômée des Beaux-Arts de Paris. Elle place le livre au cœur de sa pratique artistique, explorant différentes formes d'édition et utilisant l'image comme une matière première. Dans la lignée des artistes-iconographe, ses livres d'artiste et ses installations proposent des relectures d’iconographies préexistantes ou de fonds d’archives méconnus. Elle réalise des collaborations et des commandes graphiques dans le milieu de la culture, l'édition et la photographie et dirige la maison d’édition Païen. Plus d'infos...
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Une force mystique semble avoir pris possession du stade et les photographies en plans resserrés paraissent la métaphore du sentiment d’unité de tous les participants. Ces images ont été initialement collectées au lendemain d’un important match de football puis retravaillée par succession de photocopies. Cette nouvelle matière, dépouillée et dense à la fois, évoque par affinité les rayons et les clairs-obscurs des peintures sacrées. À travers cette installation, Lia Pradal propose d’interroger la lisière poreuse entre le profane et le sacré et le déplacement du sentiment de foi en direction de nos grands rendez-vous sportifs contemporains.
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Vues de l’installation dans l’espace publique, ancienne caserne de la Benauge, Bordeaux
Juillet - septembre 2024
Scénographie : Philippe Cotten
Bordeaux Métropole vous invite ainsi à découvrir l’œuvre de Lia Pradal « La Grand-Messe » sur les vitres du complexe Brassens-Camus de Lormont, lieu dédié au sport, à la jeunesse et à la vie citoyenne et associative.
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16 impressions en vitrophanie
Tailles multiples, entre 2 et 3m
L'œuvre The plain is lit with fire présente une image d’archive de l’église “en bois debout” de Heddal en Norvège, extraite de l’édition The Guidebook of Church Burners. Le nom de toutes les églises “en bois debout” encore érigées en Norvège sont floquées sur la cimaise. En collaboration avec Camille Tallent.
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Septembre-octobre
Divisé en 11 planches individuelles, le multiple La Grand-Messe présente des joueurs et des supporters issus d’une finale où s’affrontaient la France et le Portugal. Les sujets sont fixés dans des poses extatiques, animés par une force mystique qui semble émaner du jeu. Sur une planche dorée se dresse le stade, cette grande cathédrale où se rejoignent les fidèles pour la célébration tant attendue. Chaque image est légendée d’extrait de commentateurs ou de journalistes sportifs.
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Un multiple 29,7x42cm, photocopie, couverture papier doré
Vue de l’exposition Par amour du jeu - 1998-2018,
Magasins Généraux, Pantin
À travers cette installation, Lia Pradal réactive ici La Grand-messe sous la forme d'une sélection de grands tirages flottants au sein de la chapelle Chapelle Saint-Prix à Montreuil-sur-Brêche, interrogeant ainsi la lisière poreuse entre le profane et le religieux.
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Commissariat Emmanuelle Halkin
7 tirages flottants, violet
1m x 1m50
+ 1 tirage 1m50 x 2m
« La fascination pour le sacré, même celui des autres. »(Sans soleil, Chris Marker). Cette série de photographies tire son nom du concept de « numineux », inventé par R. Otto dans Le Sacré et popularisé par C.G. Jung. Le numineux désigne le sentiment d’un sacré dépourvu de dogme, originel et syncrétique. Numen est une cartographie visuelle ponctuée d’étranges marques de cérémonies, de figures chamaniques et de mises en scènes de rites qui oscillent toujours entre jeu et hommage. De grandes plaques de verres imprimées accompagnent la banque de photographies Numen. Composées d’images-archétypes imprimées avec un jeu de transparence, les Extractions (créées a posteriori des photographies originales) agissent comme les réservoirs d’images inconscientes qui ont formé chaque photographie.
38:["$","div",null,{"className":"grid grid-cols-subgrid col-span-full gap-2 text-sm leading-tight px-4 md:px-0","children":[["$","div",null,{"className":"col-[1_/_span_round(calc(2*calc(var(--columns)_/_3)_-_1),1)]","children":[null,["$","div",null,{"dangerouslySetInnerHTML":{"__html":"$5c"}}]]}],["$","div",null,{"className":"col-[round(calc(2*calc(var(--columns)_/_3)_+_1),1)_/_span_round(calc(var(--columns)_/_3),1)] md:ml-auto","dangerouslySetInnerHTML":{"__html":"Photographie : tirage jet d’encre
80 x 120cm, cadre kraft bordé noir
Oeuvre sur verre : sérigraphie, 80 x 120cm
Vue d’exposition au 63ème Salon de Montrouge
Vue de l’exposition Waiting for the Temple, curaté par Sabat Magazine à l’Eglise Suisse de Londres. En collaboration avec Camille Tallent.
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Planches de sapin
Durant son séjour, l’artiste Lia Pradal a collaboré avec des archéologues de l’INRAP pour réinterpréter des images documentant le processus de numérisation des mégalithes de Bretagne. Elle a transformé ces images, via des cadrages et un procédé d’impression solaire les transposant ainsi dans l’imaginaire.
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Curation : Le Bon Accueil_Reverb, Rennes
Longue-Fâme tient place en marge de la civilisation, dans une grange isolée dans les montagnes, percée par la végétation, piétinée par la faune nocturne. Toutes les œuvres qui y ont été installées, s’accordent et doivent être considérées comme un tout attenant à l’espace qui les abrite. De techniques diverses, les oeuvres sont le reflet d’un effort constant de travailler avec « les moyens du bord ». Les coûts déployés pour leurs réalisations sont minimes et la provenance des matières est très souvent locale, voire récupérée in situ.
Depuis le vernissage, sans public, les œuvres sont et resteront accrochées jusqu’à ce que l’usure du lieu agissent sur elles (destruction, érosion, illisibilité, disparition, etc). En collaboration avec Camille Tallent.
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Vue des installations
off-site (grange abandonnée)
Pyrénées Ariégeoises
Court métrage réalisé autour de l’exposition Longue-Fâme, présenté sous la forme d’une installation vidéo.
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Numérique, couleur, 14 min
Vue de l’exposition, Beaux-Arts de Paris
Captures d'écran issues du court métrage réalisé autour de l’exposition Longue-Fâme.
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