Archives mensuelles : décembre 2006

« The end of the world is nearing »

« The end of the world is nearing »

Saint-Romain-Au-Mont-D`Or, France, Dec 17: A replica of the World Trade Center ruins is the last thing you expect to find in a tranquil corner of provincial France. Yet there it is, along with a sign that reads: « The end of the world is nearing. »

This is the Abode of Chaos — art gallery extraordinaire or the local eyesore, depending on who you ask. Twisted car carcasses are heaped in the yard, and the water in the swimming pool out back is tinted a murky blood red. Portraits of Osama bin Laden and other terrorists gaze down at passers-by.

Just a few years ago, the Abode of Chaos was a charming 17th-century residence, perfectly at home on a street of well-preserved farmhouses, golden-hued stone walls and pansies in window boxes.

The Abode`s creator, eccentric entrepreneur Thierry Ehrmann, has been locked in a legal battle with the mayor`s office in this town of 1,100 outside Lyon, in central France, and the trial has made its way to France`s highest court.

The case has sparked heated debate, in court, in blogs, on petitions. Is the Abode of Chaos art? And what neighbor, no matter how open-minded, would want to wake up every morning to Ehrmann`s vision of the apocalypse?

« He has the right to call it art, » said neighbor Marie-Laure Houelle. « We have the right not to like it. »

Mayor Pierre Dumont is enraged that Ehrmann imposed his vision on the townspeople, and that he didn`t seek permission to blacken his home`s golden stone walls, cover the house with graffiti and build a mock oil platform on top of it.

Now, hordes of visitors — 80,000 so far this year — appear on the weekends, when the Abode is open for free admission.

« This is a little village that is asking only one thing: To be left in peace, » said Dumont, a soft-spoken man who keeps drawings by local children on the walls of his office. Ehrmann, though frustrated that the case is dragging on, is delighted that his creation could set a legal precedent. He compares it to the historic Brancusi affair in the 1920s, when U.S. customs officials refused to let one of sculptor Constantin Brancusi`s abstract designs into the country duty-free — they claimed it was just a metal object, not art. A court eventually ruled that abstract forms could qualify as art, stretching its legal definitions.

« The most important purpose of a work of art is to raise questions, » Ehrmann said in an interview in his office, where he has to climb over his donut-shaped desk to reach a swivel chair in the center. « A work of art that raises no questions is not a work of art. »

The legal spat began with a suit by the mayor`s office. In February, Ehrmann was fined and ordered to put the Abode back in its original state. Then a Lyon appeals court ruled in September that the Abode was a form of art and could remain as is, though Ehrmann was ordered to pay $266,000 for failing to get authorization for construction. Prosecutor Jean-Olivier Viout sent the case to the Court of Cassation, the highest French court. He wants judges to address an overarching question: Do the courts even have the right to define what is art? No date has been set yet for a ruling.

Bureau Report

©2006 Zee News
http://www.zeenews.com/

Publicités

Terrorising the French countryside

Terrorising the French countryside

December 18, 2006 – 11:20AM

A replica of the World Trade Centre ruins is the last thing you expect to find in a tranquil corner of provincial France. Yet there it is, along with a sign that reads: « The end of the world is nearing. »

This is the Abode of Chaos – art gallery extraordinaire or the local eyesore, depending on who you ask. Twisted car carcasses are heaped in the yard, and the water in the swimming pool out back is tinted a murky blood red. Portraits of Osama bin Laden and other terrorists gaze down at passers-by.

Just a few years ago, the Abode of Chaos was a charming 17th-century residence, perfectly at home on a street of well-preserved farmhouses, golden-hued stone walls and pansies in window boxes.

The Abode’s creator, eccentric entrepreneur Thierry Ehrmann, has been locked in a legal battle with the mayor’s office in this town of 1,100 outside Lyon, in central France, and the trial has made its way to France’s highest court.

The case has sparked heated debate, in court, in blogs, on petitions. Is the Abode of Chaos art? And what neighbour, no matter how open-minded, would want to wake up every morning to Ehrmann’s vision of the apocalypse?

« He has the right to call it art, » said neighbour Marie-Laure Houelle. « We have the right not to like it. »

Mayor Pierre Dumont is enraged that Ehrmann imposed his vision on the townspeople, and that he didn’t seek permission to blacken his home’s golden stone walls, cover the house with graffiti and build a mock oil platform on top of it.

What is art?
Now, hordes of visitors — 80,000 so far this year — appear on the weekends, when the Abode is open for free admission.

« This is a little village that is asking only one thing: To be left in peace, » said Dumont, a soft-spoken man who keeps drawings by local children on the walls of his office.

Ehrmann, though frustrated that the case is dragging on, is delighted that his creation could set a legal precedent. He compares it to the historic Brancusi affair in the 1920s, when U.S. customs officials refused to let one of sculptor Constantin Brancusi’s abstract designs into the country duty-free — they claimed it was just a metal object, not art. A court eventually ruled that abstract forms could qualify as art, stretching its legal definitions.

« The most important purpose of a work of art is to raise questions, » Ehrmann said in an interview in his office, where he has to climb over his donut-shaped desk to reach a swivel chair in the center. « A work of art that raises no questions is not a work of art. »

The legal spat began with a suit by the mayor’s office. In February, Ehrmann was fined and ordered to put the Abode back in its original state. Then a Lyon appeals court ruled in September that the Abode was a form of art and could remain as is, though Ehrmann was ordered to pay $266,000 for failing to get authorisation for construction.

Prosecutor Jean-Olivier Viout sent the case to the Court of Cassation, the highest French court. He wants judges to address an overarching question: Do the courts even have the right to define what is art? No date has been set yet for a ruling.

Business as usual
In the meantime, it’s business as usual at the Abode — which is also Ehrmann’s home as well as the headquarters of his holding company, Server Group. The staff works in rooms where red paint trickles down the windows. Employees in headsets type in a room covered by a larger-than-life mural of Dutch right-wing firebrand Pim Fortuyn lying in a pool of blood after his 2002 assassination.

There are also several murals showing the September 11 attacks — an event that Ehrmann sees as a defining moment of modernity, the wellspring of all current geopolitics, and thus an important subject for art.

Constantly in evolution, the Abode now houses more than 2,500 works, mostly by underground artists but also a few well-established figures, including the Nice, France-based artist Ben Vautier, known for his slogans written white-on-black, such as « Art does not exist. »

Recognition has come from some unexpected quarters: A lawmaker has asked the Culture Ministry to deem the Abode a protected monument. And a menacing steel bunker conceived for the project was even displayed outside the Grand Palais in Paris.

Ehrmann, 44, is a sculptor as well as the founder of Artprice.com, which surveys the global art market. A Freemason who is fascinated by alchemy, he wears only black and has his hair styled in a long, braided rattail.

He is also the 237th richest businessman in France, according to Challenges magazine’s 2006 survey, and he has poured nearly $6 million into the Abode.

Ehrmann sees his struggle as a battle between modernists and traditionalists in a country that he calls « incapable of imagining change. »

He believes there is a « great French malaise, which is to be a great artistic nation no longer. » Instead of nurturing contemporary artists, he says, France’s art world is fixated on the geniuses of the past, from David to Matisse. Beauty is irrelevant in contemporary art, he says, and it must not be designed to please the crowds that tromp through museums.

People often ask Ehrmann why he didn’t put his project in one of France’s depressed, run-down suburbs, where it would be an asset to the community and less out of place. He says he created the Abode specially for Saint-Romain — the clash with the peaceful town is part of the point.

Out front, on the Abode of Chaos’ entry gate, a graffiti tag sums it up best: « War in progress.

© 2006 The Sydney Morning Herald
http://www.smh.com.au/

Apocalyptic art gallery angers French town

Apocalyptic art gallery angers French town

By Angela Doland
ASSOCIATED PRESS

Sunday, December 17, 2006

SAINT-ROMAIN-AU-MONT-D’OR, France — A replica of the World Trade Center ruins is the last thing you’d expect to find in a tranquil corner of provincial France. Yet there it is, along with a sign that reads: « The end of the world is nearing. »

This is the Abode of Chaos — art gallery extraordinaire or the local eyesore, depending on whom you ask. Twisted car carcasses are heaped in the yard, and the water in the swimming pool out back is tinted a murky blood red. Portraits of Osama bin Laden and other terrorists gaze down at passers-by.

Patrick Gardin
ASSOCIATED PRESS
(enlarge photo)

Thierry Ehrmann transformed his home’s garden into a replica of the World Trade Center ruins. Neighbors aren’t fond of his work, and they’ve taken this case to France’s highest court.

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Just a few years ago, the Abode of Chaos was a charming 17th-century residence, at home on a street of well-preserved farmhouses, golden-hued stone walls and pansies in window boxes.

The Abode’s creator, eccentric entrepreneur Thierry Ehrmann, has been locked in a legal battle with the mayor’s office in this town of 1,100 outside Lyon, in central France, and the trial has made its way to France’s highest court.

The case has sparked heated debate, in court, in blogs, on petitions. Is the Abode of Chaos art? And what neighbor, no matter how open-minded, would want to wake up every morning to Ehrmann’s vision of the apocalypse?

« He has the right to call it art, » neighbor Marie-Laure Houelle said. « We have the right not to like it. »

Mayor Pierre Dumont is enraged that Ehrmann imposed his vision on the townspeople, and that he didn’t seek permission to blacken his home’s golden stone walls, cover the house with graffiti and build a mock oil platform on top of it.

Now, hordes of visitors — 80,000 so far this year — appear on the weekends, when the Abode is open for free admission.

« This is a little village that is asking only one thing: to be left in peace, » said Dumont, a soft-spoken man who keeps drawings by local children on the walls of his office.

Ehrmann, though frustrated that the case is dragging on, is delighted that his creation could set a legal precedent. He compares it to the Brancusi affair in the 1920s, when U.S. customs officials refused to let one of sculptor Constantin Brancusi’s abstract designs into the country duty-free — they claimed it was just a metal object, not art. A court eventually ruled that abstract forms could qualify as art, stretching its legal definitions.

« The most important purpose of a work of art is to raise questions, » Ehrmann said in an interview in his office, where he has to climb over his doughnut-shaped desk to reach a swivel chair in the center. « A work of art that raises no questions is not a work of art. »

The legal fight began with a lawsuit by the mayor’s office. In February, Ehrmann was fined and ordered to put the Abode back to its original state. Then a Lyon appeals court ruled in September that the Abode was a form of art and could remain as is, though Ehrmann was ordered to pay $266,000 for failing to get authorization for construction.

Prosecutor Jean-Olivier Viout sent the case to the Court of Cassation, the highest French court. He wants judges to address an overarching question: Do the courts even have the right to define what is art? No date has been set yet for a ruling.

In the meantime, it’s business as usual at the Abode — which is also Ehrmann’s home as well as the headquarters of his holding company, Server Group. The staff works in rooms where red paint trickles down the windows. Employees in headsets type in a room covered by a larger-than-life mural of Dutch right-wing firebrand Pim Fortuyn lying in a pool of blood after his 2002 assassination.

There are also several murals showing the Sept. 11, 2001, attacks — an event that Ehrmann sees as a defining moment of modernity, the wellspring of all current geopolitics, and thus an important subject for art.

Constantly in evolution, the Abode now houses more than 2,500 works, mostly by underground artists but also a few well-established figures, including the Nice, France-based artist Ben Vautier, known for his slogans written white-on-black, such as « Art does not exist. »

Recognition has come from some unexpected quarters: A lawmaker has asked the Culture Ministry to deem the Abode a protected monument. And a menacing steel bunker conceived for the project was even displayed outside the Grand Palais in Paris.

Ehrmann, 44, is a sculptor as well as the founder of Artprice.com, which surveys the global art market. A Freemason who is fascinated by alchemy, he wears only black and has his hair styled in a long, braided rattail.

He is also the 237th richest businessman in France, according to Challenges magazine’s 2006 survey, and he has poured nearly $6 million into the Abode.

Ehrmann sees his struggle as a battle between modernists and traditionalists in a country that he calls « incapable of imagining change. »

©2006 Austin American-Statesman | statesman.com
http://www.statesman.com/life/content/life/stories/other/12/17/17artabode.html

France’s abysmal Abode of Chaos

CNN International.com TRAVEL

France’s abysmal Abode of Chaos

SAINT-ROMAIN-AU-MONT-D’OR, France (AP) — A replica of the World Trade Center ruins is the last thing you expect to find in a tranquil corner of provincial France. Yet there it is, along with a sign that reads: « The end of the world is nearing. »

This is the Abode of Chaos — art gallery extraordinaire or the local eyesore, depending on who you ask. Twisted car carcasses are heaped in the yard, and the water in the swimming pool out back is tinted a murky blood red. Portraits of Osama bin Laden and other terrorists gaze down at passers-by.

Just a few years ago, the Abode of Chaos was a charming 17th-century residence, perfectly at home on a street of well-preserved farmhouses, golden-hued stone walls and pansies in window boxes.

The Abode’s creator, eccentric entrepreneur Thierry Ehrmann, has been locked in a legal battle with the mayor’s office in this town of 1,100 outside Lyon, in central France, and the trial has made its way to France’s highest court.

The case has sparked heated debate, in court, in blogs, on petitions. Is the Abode of Chaos art? And what neighbor, no matter how open-minded, would want to wake up every morning to Ehrmann’s vision of the apocalypse?

« He has the right to call it art, » said neighbor Marie-Laure Houelle. « We have the right not to like it. »

Mayor Pierre Dumont is enraged that Ehrmann imposed his vision on the townspeople, and that he didn’t seek permission to blacken his home’s golden stone walls, cover the house with graffiti and build a mock oil platform on top of it.
What is art?

Now, hordes of visitors — 80,000 so far this year — appear on the weekends, when the Abode is open for free admission.

« This is a little village that is asking only one thing: To be left in peace, » said Dumont, a soft-spoken man who keeps drawings by local children on the walls of his office.

Ehrmann, though frustrated that the case is dragging on, is delighted that his creation could set a legal precedent. He compares it to the historic Brancusi affair in the 1920s, when U.S. customs officials refused to let one of sculptor Constantin Brancusi’s abstract designs into the country duty-free — they claimed it was just a metal object, not art. A court eventually ruled that abstract forms could qualify as art, stretching its legal definitions.

« The most important purpose of a work of art is to raise questions, » Ehrmann said in an interview in his office, where he has to climb over his donut-shaped desk to reach a swivel chair in the center. « A work of art that raises no questions is not a work of art. »

The legal spat began with a suit by the mayor’s office. In February, Ehrmann was fined and ordered to put the Abode back in its original state. Then a Lyon appeals court ruled in September that the Abode was a form of art and could remain as is, though Ehrmann was ordered to pay $266,000 for failing to get authorization for construction.

Prosecutor Jean-Olivier Viout sent the case to the Court of Cassation, the highest French court. He wants judges to address an overarching question: Do the courts even have the right to define what is art? No date has been set yet for a ruling.
Business as usual

In the meantime, it’s business as usual at the Abode — which is also Ehrmann’s home as well as the headquarters of his holding company, Server Group. The staff works in rooms where red paint trickles down the windows. Employees in headsets type in a room covered by a larger-than-life mural of Dutch right-wing firebrand Pim Fortuyn lying in a pool of blood after his 2002 assassination.

There are also several murals showing the September 11 attacks — an event that Ehrmann sees as a defining moment of modernity, the wellspring of all current geopolitics, and thus an important subject for art.

Constantly in evolution, the Abode now houses more than 2,500 works, mostly by underground artists but also a few well-established figures, including the Nice, France-based artist Ben Vautier, known for his slogans written white-on-black, such as « Art does not exist. »

Recognition has come from some unexpected quarters: A lawmaker has asked the Culture Ministry to deem the Abode a protected monument. And a menacing steel bunker conceived for the project was even displayed outside the Grand Palais in Paris.

Ehrmann, 44, is a sculptor as well as the founder of Artprice.com, which surveys the global art market. A Freemason who is fascinated by alchemy, he wears only black and has his hair styled in a long, braided rattail.

He is also the 237th richest businessman in France, according to Challenges magazine’s 2006 survey, and he has poured nearly $6 million into the Abode.

Ehrmann sees his struggle as a battle between modernists and traditionalists in a country that he calls « incapable of imagining change. »

He believes there is a « great French malaise, which is to be a great artistic nation no longer. » Instead of nurturing contemporary artists, he says, France’s art world is fixated on the geniuses of the past, from David to Matisse. Beauty is irrelevant in contemporary art, he says, and it must not be designed to please the crowds that tromp through museums.

People often ask Ehrmann why he didn’t put his project in one of France’s depressed, run-down suburbs, where it would be an asset to the community and less out of place. He says he created the Abode specially for Saint-Romain — the clash with the peaceful town is part of the point.

Out front, on the Abode of Chaos’ entry gate, a graffiti tag sums it up best: « War in progress.

Copyright 2006 The Associated Press. All rights reserved.This material may not be published, broadcast, rewritten, or redistributed.

Find this article at:
http://edition.cnn.com/2006/TRAVEL/12/15/france.chaos.ap

Art or eyesore? Temple to ‘chaos’ angers town in provincial France

Art or eyesore? Temple to ‘chaos’ angers town in provincial France
International Herald Tribune

The Associated Press
Thursday, December 14, 2006

SAINT-ROMAIN-AU-MONT-D’OR, France

A replica of the World Trade Center ruins is the last thing you expect to find in a tranquil corner of provincial France. Yet there it is, along with a sign that reads: « The end of the world is nearing. »

This is the Abode of Chaos — art gallery extraordinaire or the local eyesore, depending on who you ask. Twisted car carcasses are heaped in the yard, and the water in the swimming pool out back is tinted a murky blood red. Portraits of Osama bin Laden and other terrorists gaze down at passers-by.

Just a few years ago, the Abode of Chaos was a charming 17th-century residence, perfectly at home on a street of well-preserved farmhouses, golden-hued stone walls and pansies in window boxes.

The Abode’s creator, eccentric entrepreneur Thierry Ehrmann, has been locked in a legal battle with the mayor’s office in this town of 1,100 outside Lyon, in central France, and the trial has made its way to France’s highest court.

The case has sparked heated debate, in court, in blogs, on petitions. Is the Abode of Chaos art? And what neighbor, no matter how open-minded, would want to wake up every morning to Ehrmann’s vision of the apocalypse?

« He has the right to call it art, » said neighbor Marie-Laure Houelle. « We have the right not to like it. »

Mayor Pierre Dumont is enraged that Ehrmann imposed his vision on the townspeople, and that he didn’t seek permission to blacken his home’s golden stone walls, cover the house with graffiti and build a mock oil platform on top of it.

Now, hordes of visitors — 80,000 so far this year — appear on the weekends, when the Abode is open for free admission.

« This is a little village that is asking only one thing: To be left in peace, » said Dumont, a soft-spoken man who keeps drawings by local children on the walls of his office.

Ehrmann, though frustrated that the case is dragging on, is delighted that his creation could set a legal precedent. He compares it to the historic Brancusi affair in the 1920s, when U.S. customs officials refused to let one of sculptor Constantin Brancusi’s abstract designs into the country duty-free — they claimed it was just a metal object, not art. A court eventually ruled that abstract forms could qualify as art, stretching its legal definitions.

« The most important purpose of a work of art is to raise questions, » Ehrmann said in an interview in his office, where he has to climb over his donut-shaped desk to reach a swivel chair in the center. « A work of art that raises no questions is not a work of art. »

The legal spat began with a suit by the mayor’s office. In February, Ehrmann was fined and ordered to put the Abode back in its original state. Then a Lyon appeals court ruled in September that the Abode was a form of art and could remain as is, though Ehrmann was ordered to pay €200,000 (US$266,000) for failing to get authorization for construction.

Prosecutor Jean-Olivier Viout sent the case to the Court of Cassation, the highest French court. He wants judges to address an overarching question: Do the courts even have the right to define what is art? No date has been set yet for a ruling.

In the meantime, it’s business as usual at the Abode — which is also Ehrmann’s home as well as the headquarters of his holding company, Server Group. The staff works in rooms where red paint trickles down the windows. Employees in headsets type in a room covered by a larger-than-life mural of Dutch right-wing firebrand Pim Fortuyn lying in a pool of blood after his 2002 assassination.

There are also several murals showing the Sept. 11 attacks — an event that Ehrmann sees as a defining moment of modernity, the wellspring of all current geopolitics, and thus an important subject for art.

Constantly in evolution, the Abode now houses more than 2,500 works, mostly by underground artists but also a few well-established figures, including the Nice, France-based artist Ben Vautier, known for his slogans written white-on-black, such as « Art does not exist. »

Recognition has come from some unexpected quarters: A lawmaker has asked the Culture Ministry to deem the Abode a protected monument. And a menacing steel bunker conceived for the project was even displayed outside the Grand Palais in Paris.

Ehrmann, 44, is a sculptor as well as the founder of Artprice.com, which surveys the global art market. A Freemason who is fascinated by alchemy, he wears only black and has his hair styled in a long, braided rattail.

He is also the 237th richest businessman in France, according to Challenges magazine’s 2006 survey, and he has poured nearly €4.5 million (US$6 million) into the Abode.

Ehrmann sees his struggle as a battle between modernists and traditionalists in a country that he calls « incapable of imagining change. »

He believes there is a « great French malaise, which is to be a great artistic nation no longer. » Instead of nurturing contemporary artists, he says, France’s art world is fixated on the geniuses of the past, from David to Matisse. Beauty is irrelevant in contemporary art, he says, and it must not be designed to please the crowds that tromp through museums.

People often ask Ehrmann why he didn’t put his project in one of France’s depressed, run-down suburbs, where it would be an asset to the community and less out of place. He says he created the Abode specially for Saint-Romain — the clash with the peaceful town is part of the point.

Out front, on the Abode of Chaos’ entry gate, a graffiti tag sums it up best: « War in progress. »

La « Demeure du Chaos » fermée au public dans l’attente d’un audit de sécurité

Dépêches de l’Education

du Jeudi 14 décembre 2006

La « Demeure du Chaos » fermée au public dans l’attente d’un audit de sécurité – AFP

La « Demeure du Chaos », oeuvre d’art controversée de Saint-Romain aux Monts d’Or (Rhône), est fermée aux visiteurs dans l’attente d’un audit qui doit vérifier si les normes de sécurité pour recevoir du public sont respectées, a-t-on appris jeudi auprès de la mairie.

Depuis quelques mois, « des cars entiers et de nombreuses voitures de visiteurs affluent le week-end, et nous voulons nous assurer que les conditions de sécurité sont bien réunies », a expliqué à l’AFP Françoise Revel, adjointe au maire de Saint-Romain.

« La sous-commission départementale de sécurité a visité le lieu, et les pompiers ont relevé des points litigieux, ce qui nous a amené à demander un audit », a-t-elle ajouté.

« Il n’y a rien d’extraordinaire à ce que l’on veuille protéger les gens qui viennent voir des amas de ferraille et d’autres choses curieuses », a poursuivi l’élue, en précisant avoir informé l’Inspection académique du Rhône, en raison de la visite des lieux par de nombreux scolaires.

Dans un communiqué, l’artiste et homme d’affaires Thierry Ehrmann, propriétaire de cet ancien relais de poste du XVIIe qu’il a « déconstruit » en symbole apocalyptique, aux murs calcinés et recouverts de portraits de Ben Laden ou Fidel Castro, dénonce le franchissement d’un « degré supplémentaire » dans le « négationnisme artistique » de la mairie.

M. Ehrmann et la mairie s’affrontent devant les tribunaux, le premier souhaitant faire reconnaître le statut d’oeuvre d’art à sa création, la seconde réclamant la remise à l’état originel de cette demeure, située au milieu de bâtiments classés de cette banlieue chic de Lyon.

En février, le tribunal correctionnel de Lyon avait demandé la remise en état de la maison et condamné M. Ehrmann à 120.000 euros d’amende. Ce jugement avait été partiellement infirmé par la Cour d’appel en septembre, cette dernière autorisant le maintien en l’état, mais alourdissant l’amende à 200.000 euros.

Le parquet général de Lyon et la mairie se sont pourvus en cassation. « L’attendu (de l’arrêt de la Cour d’appel) selon lequel il s’agit d’une oeuvre d’art pose problème: est-ce que la justice est compétente pour décider de ce qu’est une oeuvre d’art ? », avait expliqué Jean-Olivier Viout, procureur général de Lyon.

copyright ©2006 AFP – www.vousnousils.fr

La « Demeure du Chaos » fermée au public

Art et expositions

La « Demeure du Chaos » fermée au public

La Demeure du Chaos – France 3

La « Demeure du Chaos », oeuvre d’art très controversée, est fermée aux visiteurs en attente d’un audit

La « Demeure du Chaos », objet d’une lutte acharnée entre l’artiste et homme d’affaires Thierry Ehrman et la mairie de Saint-Romain aux Mont d’or (Rhône), défraie à nouveau l’actualité avec l’annonce de sa fermeture temporaire.

Fermeture liée à des conditions de sécurité insuffisante par rapport à l’afflux des visiteurs selon l’adjointe au maire.

Depuis quelques mois, « des cars entiers et de nombreuses voitures de visiteurs affluent le week-end, et nous voulons nous assurer que les conditions de sécurité sont bien réunies », a expliqué à l’AFP Françoise Revel, adjointe au maire de Saint-Romain.

« Il n’y a rien d’extraordinaire à ce que l’on veuille protéger les gens qui viennent voir des amas de ferraille et d’autres choses curieuses », a poursuivi l’élue, ajoutant: « La sous-commission départementale de sécurité a visité le lieu, et les pompiers ont relevé des points litigieux, ce qui nous a amené à demander un audit ».

Le propriétaire de cet ancien relais de poste du XVIIe qu’il a « déconstruit » en symbole apocalyptique, aux murs calcinés et recouverts de portraits de Ben Laden ou Fidel Castro, dénonce le franchissement d’un « degré supplémentaire » dans le « négationnisme artistique » de la mairie.

M. Ehrmann et la mairie s’affrontent devant les tribunaux, le premier souhaitant faire reconnaître le statut d’oeuvre d’art à sa création, la seconde réclamant la remise à l’état originel de cette demeure , située au milieu de bâtiments classés de cette banlieue chic de Lyon.

En février, le tribunal correctionnel de Lyon avait demandé la remise en état de la maison et condamné M. Ehrmann à 120.000 euros d’amende. Ce jugement avait été partiellement infirmé par la Cour d’appel en septembre, cette dernière autorisant le maintien en l’état, mais alourdissant l’amende à 200.000 euros.

Le parquet général de Lyon et la mairie se sont pourvus en cassation.

Publié le 14/12 à 14:36

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