Peinture, graphisme, sculpture, performances, installations, art web\u2026 en deux d\u00e9cennies foisonnantes, Jean-Christophe Massinon a construit une \u0153uvre d\u2019une grande diversit\u00e9 qui, avec le recul, embrass\u00e9e dans sa totalit\u00e9, frappe par sa coh\u00e9rence.<\/p>\r\n\r\n\r\n\r\n
Tr\u00e8s personnel, tout en \u00e9tant en phase avec son \u00e9poque, le style de Massinon s\u2019est forg\u00e9 au milieu des ann\u00e9es 90 en Lorraine, \u00e9poque o\u00f9 il cr\u00e9e en p\u00e9riph\u00e9rie de Nancy le \u00ab Fab Market \u00bb, un march\u00e9 de l\u2019art contemporain, pas cher, ouvert aux avant-gardes, des constantes dans son univers. Tout en offrant un formidable tremplin aux artistes du Grand Est, qui se r\u00e9v\u00e8lent au grand public \u00e0 travers cet \u00e9v\u00e9nement alternatif et festif, Massinon d\u00e9veloppe son propre langage pictural. Ses toiles aux lignes tr\u00e8s graphiques, de tous formats, renouvellent le regard que l\u2019on porte sur les objets du quotidien en les remettant au premier plan. Les signaux, les pictogrammes, les symboles sont tr\u00e8s pr\u00e9sents dans ses cr\u00e9ations noir et blanc qui portent aussi en elle une part d\u2019humour, de fausse na\u00efvet\u00e9, d\u2019imagination li\u00e9e \u00e0 l\u2019enfance. En quelques traits trac\u00e9s \u00e0 l\u2019ordinateur, Massinon touche \u00e0 l\u2019essentiel et cr\u00e9e un univers familier dont le spectateur se sent proche.<\/p>\r\n\r\n\r\n\r\n
En 2002, abasourdi par le r\u00e9sultat du premier tour de la Pr\u00e9sidentielle, l\u2019artiste met en ligne un \u00ab NON \u00bb ultra graphique, \u00e9pur\u00e9, dont le O barr\u00e9 d\u2019une m\u00e8che frontale et d\u2019une moustache brune est sans \u00e9quivoque. Le logo-manifeste se propage sur le net comme un \u00e9clair. Repris par la presse, il devient un symbole du barrage \u00e0 Le Pen, photocopi\u00e9, mail\u00e9 et brandi par des milliers de manifestants entre les deux tours. Avec une longueur d\u2019avance, Massinon exp\u00e9rimente la peinture sur ordinateur et d\u00e9veloppe une forme d\u2019art graphique 2.0 connect\u00e9e au monde via le web, dont il a fait tr\u00e8s t\u00f4t un outil indispensable. L\u2019exp\u00e9rience attire l\u2019attention du mus\u00e9e d\u2019art contemporain du Luxembourg, l\u2019une des premi\u00e8res grandes institutions culturelles \u00e0 flairer le potentiel de cet artiste qui n\u2019h\u00e9site pas par ailleurs \u00e0 pourfendre le conformisme et l\u2019establishment.<\/p>\r\n\r\n\r\n\r\n
En collaboration avec le Mudam, Massinon ouvre alors une succursale bancaire d\u2019un autre genre, la B-Rich Banque, sp\u00e9cialis\u00e9e dans le d\u00e9p\u00f4t et la gestion des fortunes non marchandes, sans valeur mon\u00e9taire, comme les histoires de famille ou les souvenirs personnels, une cr\u00e9ation visionnaire au regard de la d\u00e9route de la place financi\u00e8re qui surviendra quelques ann\u00e9es plus tard. Cette exp\u00e9rience de la B-Rich Banque, o\u00f9 chacun est invit\u00e9 \u00e0 ouvrir un compte sans but lucratif,\u00a0 illustre aussi la critique politique et sociale port\u00e9e par une partie de l\u2019\u0153uvre de Massinon, convaincu de la valeur et de la primaut\u00e9 des sentiments sur les biens mat\u00e9riels, ainsi que sa volont\u00e9 r\u00e9currente d\u2019associer le public \u00e0 son travail. Cet art participatif s\u2019exprime \u00e0 travers la s\u00e9rie des Art-barbecues, une performance d\u00e9cal\u00e9e et conviviale donn\u00e9e notamment au Palais de Tokyo, ou par la r\u00e9alisation par l\u2019artiste de petites \u0153uvres en kit \u00e0 monter soi-m\u00eame, distribu\u00e9es au public lors de ses vernissages, dont on repart toujours le c\u0153ur l\u00e9ger, la main serr\u00e9e sur une mini-cr\u00e9ation, un sticker gliss\u00e9s au fond de sa poche.<\/p>\r\n\r\n\r\n\r\n
Dans la foul\u00e9e de l\u2019ouverture du Mudam, Massinon prend une nouvelle dimension. Tandis que le Consortium de Dijon le choisit comme m\u00e9diateur pour son projet de Nouveaux commanditaires, l\u2019artiste est expos\u00e9 \u00e0 Berlin, \u00e0 Londres, ex\u00e9cute des performances en Sib\u00e9rie, \u00e0 Istanbul\u2026 Quelques aplats de couleur franche suffisent dans ses tableaux \u00e0 symboliser un paysage, un objet, un visage. Les motifs sont r\u00e9duits \u00e0 l\u2019extr\u00eame, tendent \u00e0 l\u2019essentiel. Ce sens du symbolisme et de l\u2019\u00e9pure atteindra des sommets avec la \u00ab Salle des pendus \u00bb, un papier-peint que lui commande en 2010 le tout nouveau Centre Pompidou de Metz, une vision stylis\u00e9e des porte-manteaux sur lesquels les mineurs, \u00e0 l\u2019instar de l\u2019un de ses grands-p\u00e8res, accrochaient leurs v\u00eatements avant de descendre dans les entrailles de la terre. Il est \u00e9galement l\u2019un des piliers des Nuits Blanches de Metz. \u00c0 l\u2019automne 2011, apr\u00e8s sa disparition, la 4e<\/sup> \u00e9dition de la manifestation lui sera d\u00e9di\u00e9e et exposera l\u2019une de ses \u0153uvres les plus embl\u00e9matiques, le \u00ab Petit feu \u00bb. Un petit feu entretenu aujourd\u2019hui par tous ceux, nombreux, qui ont \u00e9t\u00e9 et continuent d\u2019\u00eatre touch\u00e9s par l\u2019\u0153uvre chaleureuse de cet artiste int\u00e8gre qui croyait en un \u00ab rapport simple, actif et quotidien \u00e0 l\u2019art \u00bb.<\/p>\r\n\r\n\r\n\r\n —<\/p>\r\n\r\n\r\n\r\n Painting, graphics, sculpture, performance, installations, web art \u2026 in two bountiful decades, Jean-Christophe Massinon created a diverse body of work which, in retrospect, is striking in its coherence when examined as a whole.<\/em><\/p>\r\n \r\n\r\n<\/em><\/p>\r\n Highly personal yet always very actual, Massinon\u2019s style was developed in the mid 90\u2019s in the Lorraine region, when he created the \u00ab Fab Market \u00bb on the outskirts of Nancy \u2013 a contemporary art market which was both affordable and open to the avant-garde, themes which would became recurrent in his work. While he provided an exciting platform for artists of the \u2018Great East\u2019 \u2013 who were introduced to the general public thanks to this festive and alternative event \u2013 Massinon was also developing his own pictorial language. His paintings, composed graphically with simple lines and in all formats, provide us with a fresh view of everyday objects by pushing them to the forefront. Signals, pictograms and symbols are very present in these black and white images, which also contain elements of humor, false naivety, and child-like imagination. With a few lines drawn with a computer, Massinon touches on the essential and creates a familiar world to which the viewer feels close.<\/em><\/p>\r\n \r\n\r\n<\/em><\/p>\r\n In 2002, stunned by the result of the first round of the presidential election, the artist published online an ultra graphic, streamlined \u00ab NO \u00bb, the O wearing the famous fringe and brown mustache known to all. This logo-manifesto spread on the net in a flash. Reproduced in the press, it became a symbol of the resistance to Le Pen, photocopied, emailed and waved by thousands of protesters between the two rounds of elections. Ahead of his time, Massinon experimented with painting via computer and developed a form of graphic art 2.0 connected to the world through the web, which very early on became for him an indispensable tool. This experiment attracted the attention of the contemporary art museum of Luxembourg, one of the first major cultural institutions to sense the potential of this artist who moreover does not hesitate to attack conformism and the establishment.<\/em><\/p>\r\n \r\n\r\n<\/em><\/p>\r\n In collaboration with the Mudam (Luxembourg) Massinon opened a banking branch of a different sort, the B-Rich Bank, which specialises in the deposit and management of non-financial fortunes, without monetary value, such as family stories or personal recollections, a visionary creation in terms of the financial rout that would happen a few years later. The B-Rich Bank experiment, where everyone is invited to open a non-profit account, also illustrates the political and social criticism inherent in a part of Massinon\u2019s work, convinced of the value and supremacy of feelings over physical assets, as well as his recurrent willingness to involve the public in his work. This participatory art is expressed through the series of Art Barbecues, a convivial and unorthodox event performed in particular at the Palais de Tokyo, or by the creation by the artist of small kits destined to be self-assembled, then distributed to the public at exhibition openings where we always left light hearted, a hand clamped around a mini-creation, a sticker slipped in our pocket.<\/em><\/p>\r\n \r\n\r\n<\/em><\/p>\r\n In the wake of the opening of Mudam Massinon entered a new dimension. While the Consortium of Dijon chose him as mediator for its New Sponsors program, the artist exhibited in Berlin, London, performed in Siberia, in Istanbul \u2026 Simple surfaces of color in his paintings become enough to symbolize a landscape, an object, a face. The motifs are reduced to the extreme, stripped down to the essentials. This sense of symbolism and simplicity reached its height with the \u00ab hanging room \u00bb, a wallpaper commissioned in 2010 for the new Pompidou Center in Metz, a stylized vision of hangers on which the miners -amongst them one of his grandfathers \u2013 hung their clothes before descending into the bowels of the earth. He is also one of the pillars of the \u2018Nuits Blanches\u2019 of Metz. In autumn 2011, after his death, the fourth edition of the event was dedicated to his memory and exhibited one of his most emblematic works, \u00ab Petit Feu \u00bb. A small fire kept alive today by all the many people who have been, and continue to be, affected by the warm and welcoming work of this genuine artist who believed in a \u00ab simple, active and daily relationship with art. \u00bb<\/em><\/p>\r\n","protected":false},"excerpt":{"rendered":" Peinture, graphisme, sculpture, performances, installations, art web\u2026 en deux d\u00e9cennies foisonnantes, Jean-Christophe Massinon a construit une \u0153uvre d\u2019une grande diversit\u00e9 qui, avec le recul, embrass\u00e9e dans sa totalit\u00e9, frappe par sa coh\u00e9rence.<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":72,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/jcmassinon.com\/index.php?rest_route=\/wp\/v2\/pages\/6"}],"collection":[{"href":"http:\/\/jcmassinon.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/jcmassinon.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/jcmassinon.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/jcmassinon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6"}],"version-history":[{"count":3,"href":"http:\/\/jcmassinon.com\/index.php?rest_route=\/wp\/v2\/pages\/6\/revisions"}],"predecessor-version":[{"id":268,"href":"http:\/\/jcmassinon.com\/index.php?rest_route=\/wp\/v2\/pages\/6\/revisions\/268"}],"up":[{"embeddable":true,"href":"http:\/\/jcmassinon.com\/index.php?rest_route=\/wp\/v2\/pages\/72"}],"wp:attachment":[{"href":"http:\/\/jcmassinon.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}