{"id":873,"date":"2021-12-12T12:12:31","date_gmt":"2021-12-12T11:12:31","guid":{"rendered":"http:\/\/www.reynalddrouhin.net\/wrks\/?p=873"},"modified":"2026-08-26T15:19:52","modified_gmt":"2026-08-26T14:19:52","slug":"concrete-shoes","status":"publish","type":"post","link":"https:\/\/www.reynalddrouhin.net\/wrks\/concrete-shoes\/","title":{"rendered":"Concrete shoes"},"content":{"rendered":"

Concrete Shoes<\/em> est une s\u00e9rie de sculptures dans laquelle des chaussures sont prises dans des blocs de ciment reprenant le volume de leur bo\u00eete d’origine. Objet destin\u00e9 au d\u00e9placement, prolongement du corps et de la marche, la chaussure devient ici poids, masse et obstacle. Le mouvement est mat\u00e9riellement emp\u00each\u00e9.<\/p>\n

Les titres, Nous tous<\/em>, En marche<\/em>, Se planter<\/em> ou O\u00f9 va le monde<\/em>, prolongent ce paradoxe en convoquant le d\u00e9placement, la trajectoire et l’id\u00e9e de progr\u00e8s au moment m\u00eame o\u00f9 les objets sont immobilis\u00e9s. L’expression anglaise \u00ab concrete shoes \u00bb, associ\u00e9e \u00e0 l’imaginaire mafieux du corps lest\u00e9 de ciment, ajoute \u00e0 ces formes une dimension plus sombre : le bloc peut \u00eatre \u00e0 la fois socle, monolithe, contrainte et poids.<\/p>\n

Install\u00e9es en ext\u00e9rieur, les sculptures ne restent pourtant pas immobiles au sens strict. Le ciment vieillit, la v\u00e9g\u00e9tation s’y d\u00e9veloppe, les intemp\u00e9ries, la mousse et les insectes modifient progressivement leur surface. Ce qui ne peut plus avancer continue ainsi de se transformer. Le temps prend le relais du mouvement.<\/p>\n

Entre objet quotidien, sculpture minimale et intervention dans le paysage, Concrete Shoes<\/em> met en tension mobilit\u00e9 et immobilit\u00e9, progression et emp\u00eachement, permanence et transformation. Le bloc fixe la chaussure, mais ne suspend ni le temps ni le monde qui l’entoure.<\/p>\n

Voir texte de Clarice Thamel<\/a><\/p>\n

S\u00e9rie \u00ab\u00a0Concrete shoes\u00a0\u00bb in situ :
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\nNous tous<\/strong><\/a>, 2021, ciment gris, chaussures (DC, Adidas), 23 x 24 x 42 cm. Monolithe 23 x 31 x 9,5 cm<\/p>\n

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En marche<\/strong><\/a>, 2021, ciment gris, chaussures (Supra), 23 x 31 x 35 cm. Monolithe 23 x 31 x 10,5 cm<\/p>\n

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Se planter<\/strong><\/a>, 2021, ciment gris, chaussures femme, 23 x 48 x 11 cm. Monolithe 23 x 30 x 11 cm<\/p>\n

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O\u00f9 va le monde<\/strong><\/a>, 2021, ciment gris, chaussures (Adidas Buzenitz), 23 x 31 x 28 cm. Monolithe 23 x 31 x 9,5 cm<\/p>\n

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Concrete Shoes<\/em> is a series of sculptures in which shoes are embedded in blocks of cement shaped to match the volume of their original boxes. An object designed for movement, an extension of the body and of walking, the shoe becomes here a weight, a mass, and an obstacle. Movement is physically prevented.<\/p>\n

The titles, Nous tous<\/em>, En marche<\/em>, Se planter<\/em>, and O\u00f9 va le monde<\/em>, extend this paradox by evoking movement, trajectory, and the idea of progress at the very moment when the objects are immobilized. The English expression \u201cconcrete shoes,\u201d associated with the criminal imagery of a body weighted down with cement, adds a darker dimension to these forms: the block can function at once as pedestal, monolith, constraint, and weight.<\/p>\n

Installed outdoors, however, the sculptures do not remain immobile in the strict sense. The cement ages, vegetation develops on it, and weather, moss, and insects gradually alter its surface. What can no longer move forward continues to transform. Time takes over from movement.<\/p>\n

Between everyday object, minimal sculpture, and intervention in the landscape, Concrete Shoes<\/em> sets mobility against immobility, progression against obstruction, permanence against transformation. The block fixes the shoe in place, but it suspends neither time nor the world around it.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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2021, s\u00e9rie \u00ab\u00a0Concrete shoes\u00a0\u00bb in situ, ciment gris et blanc, chaussures<\/p>\n","protected":false},"author":3,"featured_media":1119,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[15],"tags":[299,251,364,906,370,909,443,304,446,449,343,912,44,447,10,450,213,402,908,51,448,907,911,803,913,214,291,910,461,404],"class_list":["post-873","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sculpture","tag-anthropocene","tag-beton","tag-bloc","tag-chaussure","tag-ciment","tag-contrainte","tag-corps","tag-effondrement","tag-immobilite","tag-intemperies","tag-marche","tag-matiere","tag-memoire","tag-mobilite","tag-monolithe","tag-mousse","tag-mouvement","tag-nature","tag-obstacle","tag-paysage","tag-permanence","tag-poids","tag-progres","tag-sculpture","tag-socle","tag-temps","tag-trace","tag-trajectoire","tag-transformation","tag-vegetation"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p72hz6-e5","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-content\/uploads\/2021\/12\/IMG_7367-1.jpg","_links":{"self":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts\/873","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/comments?post=873"}],"version-history":[{"count":9,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts\/873\/revisions"}],"predecessor-version":[{"id":1479,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts\/873\/revisions\/1479"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/media\/1119"}],"wp:attachment":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/media?parent=873"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/categories?post=873"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/tags?post=873"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}