Presse(s) Materia prima

———-)|(———-

« 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/

décembre 19, 2006 Posted by | Non classé | Un commentaire

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/

décembre 19, 2006 Posted by | Non classé | Laisser un commentaire

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

décembre 18, 2006 Posted by | La Revue de Presse | Laisser un commentaire

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

décembre 15, 2006 Posted by | La Revue de Presse | Laisser un commentaire

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. »

décembre 15, 2006 Posted by | Non classé | Laisser un commentaire

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

décembre 14, 2006 Posted by | Non classé | Laisser un commentaire

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

©2006 France2 . FR

décembre 14, 2006 Posted by | Non classé | Laisser un commentaire

Les élus défient «La Demeure du chaos»

Les élus défient «La Demeure du chaos»

20 Minutes | édition du 11.12.06

En attendant un nouveau duel devant la justice, le maire (sans étiquette) de Saint-Romain-au-Mont-d’Or, Pierre Dumont, a défié Thierry Ehrmann, propriétaire de la très controversée Demeure du chaos, dans la rue. Suivi d’une centaine de maires et d’adjoints du Rhône, l’édile a défilé samedi matin à quelques dizaines de mètres des peintures apocalyptiques de La Demeure, sans jamais les regarder. Il a demandé aux élus de signer une motion pour le soutenir dans son combat contre l’artiste.

En septembre, la cour d’appel de Lyon avait condamné Thierry Ehrmann, mais sans lui imposer de remettre sa propriété en l’état. Ecoeuré, le maire s’était pourvu en cassation. « La justice doit entendre les problèmes que nous avons à faire appliquer le code de l’urbanisme », a insisté Pierre Dumont. Thierry Ehrmann, également patron du groupe Serveur, a riposté. Les derniers exemplaires de son deuxième ouvrage, compilant les oeuvres de La Demeure, étaient imprimés à temps pour le vernissage organisé… samedi matin. Sur l’air de La Marseillaise, l’artiste a invité Pierre Dumont à découvrir son « work in progress ». Sans succès. « C’est du négationnisme artistique ! », a lancé Thierry Ehrmann. Et vers midi, les visiteurs affluaient en nombre vers la Demeure.

Carole Bianchi

©2006 20 minutes

décembre 11, 2006 Posted by | La Revue de Presse | Laisser un commentaire

De l’ antipoésie à la maison du chaos !

Culture et Loisirs

De l’ antipoésie à la maison du chaos !

Connaissez vous Nicanor Parra? C’ est cet artiste chilien, inventeur de l’ antipoésie, qui récemment inaugurait dans le centre culturel de la Moneda (l’Elysée chilien) une exposition iconoclaste où les présidents de la république apparaissaient pendus.

Malgré son attitude iconoclaste, Nicanor Parra est reconnu comme un des géants de la culture chilienne et des dizaines de milliers de personnes, dont la présidente de la république elle-même, sont allées voir son exposition « oeuvre publique » .
Dans sa biographie publiée (évidemment) sur antiweb.cl on nous dit que Parra désserre violemment les cadenas et serrures, laissant s’ échapper l’ odeur nauséabonde de pourriture accumulée durant des millénaires. Il le fait avec une telle aisance que ceux qui sont directement visés le considèrent comme de l’ humour et il continue sur son chemin comme si rien ne s’ était passé. Mais Nicanor Parra confectionne des armes plus efficaces, jusqu’à ce que le drôle se transforme en mortel. Il faut alors « tuer la bête », et les énergumènes croient que, vraiment, il faut le faire…
A des milliers de kilomètres de là, un autre « antipoète » fait lui les frais de l’obscurantisme. Dans le pays des Lumières en effet, Thierry Ehrmann affronte procès sur procès pour avoir créé dans le paisible village de Saint Romain au mont d’ or près de Lyon, sa « maison du chaos », qu’il définit ainsi :
« La démence de l’acte artistique, cette force majeure qu’est la folie créatrice permet à l’homme depuis des millénaires de bâtir des temples, des catacombes, des charniers, des lieux de génuflexion, des calvaires, des labyrinthes, des Golgotha, des oratoires, des chemins de croix, des sanctuaires, des prieurés, des cathédrales de lumière.
Tout cela, fidèle lecteur, sont les mots qui désignent la Demeure du Chaos dont la dualité est l’Esprit de la Salamandre, le souffle alchimique de la Demeure. » … « Alors à ta véritable question, pourquoi cette noirceur ? je te réponds simplement : quand tu verras la noirceur, réjouis-toi car c’est le début de l’Œuvre…
 »
Thierry Ehrmann est t’il fou ou visionnaire ? Pour mémoire il faut rappeler que c’ est le PDG du groupe serveur, patron de plusieurs sociétés cotées en bourse,
qui s’ est fixé pour objectif de rendre l’ information transparente dans presque tous les domaines de la vie économique et culturelle ! Un homme bien ancré dans son temps, un vingt et unième siècle balbutiant où des obscurs hommes politiques de passage veulent s’ arroger le droit de détruire ce qui ne correspond pas à leur définition de l’ art.
Pour finir, et pour lancer le débat, une citation de José Miguel Ibáñez Langlois « L’ antipoésie est la poésie d’ une époque qui n’ est pas apte pour les triomphes, les classicismes ou les harmonies, parce qu’ en elle même s’ éteint la lumière de la divinité du monde, et il faudrait répéter avec Hoderlin : pourquoi être poète en temps de pénurie ?  »

http://www.ruevalparaiso.com

Source: Agoravox.fr – ©2006 Agoravox

décembre 11, 2006 Posted by | La Revue de Presse | Laisser un commentaire

Tous les chemins mènent au Chaos

Tous les chemins mènent au Chaos

Les élus sont invités à St Romain-au-Mont-d’Or samedi

Les maires du Rhône sont invités samedi à prendre le chemin de Saint Romain-au-Mont-d’Or. Mais ils devront choisir leur camp. Les pro-Ehrmann, Thierry Ehrmann est le propriétaire de la demeure du Chaos, visiteront cette dernière, tandis que les autres signeront, à l’invitation du maire Pierre Dumont, une motion visant “à faire respecter le code de l’urbanisme”.
“J’ai répondu que je ne participerai pas à cette manifestation obscure, ce n’est pas aux élus de se prononcer sur ce qu’est une œuvre d’art”, tranche René Balme, maire de Grigny, qui passera à la demeure. Selon Thierry Ehrmann, président du groupe Serveur, qui a invité 293 maires quatre jours après la lettre de Pierre Dumont, “le maire doit avoir un dizaine de soutiens chez des maires de petites communes”. L’homme d’affaires en attend cinquante. “On peut comprendre l’édile quand on enquiquine les gens pour des cabanes de jardin de moins de 20 m2, mais par principe, on ne peut pas interdire un artiste qui dérange”, relève Michel Passot, maire d’une commune de moins de 700 habitants du Rhône, qui, lui, viendra pour satisfaire sa curiosité.

Thierry Ehrmann a fait parvenir aux maires le catalogue des œuvres du Chaos.

Xavier Thouvenot
Metrofrance.com, à Lyon

©2006 Metrofrance.com

décembre 11, 2006 Posted by | La Revue de Presse | Laisser un commentaire

Le combat ne s’arrête pas au «Chaos»

Le combat ne s’arrête pas au «Chaos»

20 Minutes | édition du 08.12.06

A Saint-Romain-au-Mont-d’Or, la Demeure du chaos fait toujours débat. Le maire de cette commune d’un millier d’habitants, Pierre Dumont, a convié samedi ses homologues du Rhône, et leur conseil municipal, à venir le soutenir dans ses démarches contre la maison de Thierry Ehrmann, patron du groupe Serveur. En septembre dernier, la commune s’était pourvue en cassation contre la décision de la cour d’appel de Lyon autorisant le maintien en l’état de cette bâtisse du xviie siècle, transformée en décor apocalyptique post- 11 Septembre.

Tout en condamnant Thierry Ehrmann pour infraction aux règles de l’urbanisme, la justice avait estimé que la remise en état du mur d’enceinte, noirci et orné de portraits de terroristes, nuirait à l’oeuvre d’art. « C’est un jugement unique qui ne constitue en aucun cas un péril pour le droit de l’urbanisme que vous faites respecter », a écrit Thierry Ehrmann aux maires du département, tout en les invitant à visiter samedi matin sa Demeure.

F. C.

©2006 20 minutes
http://www.20minutes.fr

décembre 8, 2006 Posted by | La Revue de Presse | Laisser un commentaire

Du sang neuf à la Demeure du Chaos

Saison littéraire agitée à Saint Romain au Mont d’Or.

Décembre est un mois tendu pour la sulfureuse Demeure du Chaos et son âme damnée thierry ehrmann

3 ouvrages sont attendues dont un apparemment sous presse et déjà controversé, rédigé par une journaliste Anglo-saxonne peu sensible au charme de notre plasticien. Cet ouvrage mettrait en lumière les réseaux d’influence d’Ehrmann à travers le monde où se mêle des enjeux de pouvoirs, d’argent, de sexe mais aussi de religion.
Selon des proches du patron d’Artprice, ces révélations auraient mis Ehrmann dans une fureur noire, son Eminence ne supportant pas cette rébellion (d’une ex) et malgré une série de procédures judiciaires discrètes dont il est le spécialiste, ces dernières ne semblent pas opérer sur le sol américain. Le Maitre de Saint-Romain n’a obtenu que l’interdiction momentanée sur le sol français. Ce livre d’investigation est parfois teinté d’un certain humour. On apprend ainsi que notre homme fréquente régulièrement de discrètes cliniques suisses pour régénérer son propre sang. Se prend-il pour une salamandre ? , symbole d’éternité qui est aussi son symbole.

Plus conséquent, le décryptage des nombreux voyages d’Ehrmann depuis des années dans les zones de guerre et de conflit ne renvoit pas simplement à l’image d’un homme qui s’interroge sur le sens de son époque mais bien à des amitiés particulières face à des factions claniques et tribales.

Selon cette même journaliste, le niveau des rencontres d’Ehrmann dans ces territoires et les délégations qui l’accompagnent donne un tout autre éclairage de l’image qu’il donne de lui en France. La lecture de son parcours est, selon l’écrivain, sillonné par un nombre étonnant de décès et de suicides. Est-ce sa fascination pour les extrêmes qui l’obligent à accompagner des êtres au soir de leur vie ? Quant à la conclusion (qui n’appartient qu’à l’auteur de cette enquête) la plus grande force d’Ehrmann est de donner l’impression qu’il met en scène un jeu alors qu’en coulisse il opèrerait avec une férocité silencieuse.

En écho, notre plasticien signe son deuxième ouvrage sur la Demeure du chaos avec une centaine de planches couleur grand format éblouissante. L’extrait de la préface donnera quelques sueurs froides aux lecteurs .Un vernissage « particulier » est attendue vers le 9 décembre. Côté médias, la demeure est toujours au cœur du débat. Récemment, ce n’est ni plus ni moins que la célèbre agence Associated Press TN pour son prestigieux « format horizon » qui diffuse sur 1800 chaînes télé dans le monde qui a produit un reportage sur la Demeure du chaos. De la Scandinavie en passant par l’Europe de l’Est, de la Chine au Brésil, presque tous les grands journaux nationaux ont parlé de la DDC.

Notre plasticien plaide de bonne foi sa reconnaissance planétaire. Selon notre consœur, cette reconnaissance serait due à d’autres dons que ne nous a pas encore révélé Ehrmann. Histoire à suivre dans les bonnes librairies (pour le moment étrangères).

©2006 LyonPeople.com

décembre 7, 2006 Posted by | La Revue de Presse, Thierry Ehrmann : aVentures chaOtiQues | Laisser un commentaire