Antoine D'Agata – författare

Chus Burés creates miracles. Each piece of jewelry that emerges from his workshop boasts a complex genesis, stemming from an intersection between his genius-level thought processes and his maverick lifestyle. From exploring the versatility of buttons, to accentuating the geometric planes of the human body (Infinity Lines, 1990), and using minerals to emulate and exaggerate human features (seen in the striking 'Mae Nam' Collection of 2000), Burés' work is always perplexing, always stimulating, and always innovative. He refuses to be cowed by convention, and delights in challenging his clients and models. The bodily focus of his work makes every piece a startling, and often uncomfortable, insight into humanity.Burés may be a maestro of metal - the gauzy chainmail-esque veils in his Crochet collection, 2000, attest to that. Yet he has mastered the emotional dimensions of his jewelry as well as its physical properties. The relationship between his pieces and the people who collect and cherish them is essential to his artistic praxis. In Chus Burés, Portraits & Jewellery (2016), this is realized through a series of intense portraits by Antoine d'Agata, Alberto García-Alix, and Andres Serrano. These pictures reveal a transgressive melding of jewel and subject: man becomes metal and metal becomes man. Watch ideas take on physical form, and immerse yourself in Burés' world of wearable art.Text in English, French, and Spanish.

For Charles Baudelaire, the photographic medium is not an art but a technical means of representing reality. As a counterpoint to Baudelaire, Antoine d’Agata reworks his own photographs through digital intervention to return to engraving, as if to go from the pixel to the line of the time. He pushes photography to its limits, discarding the medium to return to the raw. Baudelaire’s texts thus enter into dialogue with photographs that have become engravings through wear and tear and manipulation, where the bodies blend together to give way to the poetry of the body. The work is based on the original uncensored edition of Baudelaire’s collection accompanied by these engraved prints by d’Agata. Present and past are superimposed. Like a game of transparency that will present the frame of an image on the cover. In this work Fleurs du Mal, Baudelaire is a stroller, a spectator of the world around him, of urban transformations, while d’Agata embodies photography, life and reappropriates the space of the city by the gesture. Two personalities meet on the occasion of the 200 years of the birth of Charles Baudelaire. Two artists who could have meet each other, debated, confronted each other. For d’Agata, Baudelaire leaves a legacy that must be pushed to extend its own reflection. The artist intervenes on the edge of Baudelaire’s poems with personal reflections and quotations from his favorite thinkers, descendants of Baudelaire’s thought: Walter Benjamin, Guy Debord or Georges Bataille. Affixed vertically to the poems, these handwritten interventions assert themselves while leaving the original text its own space. A second sense of reading is thus offered to the reader between Baudelaire’s text and the interpretation given by d’Agata through the words as much as through the engravings.