Im jüngsten Kunst-Projekt geht es um die faszinierenden Bilder von Liu Bolin. Die außergewöhnliche Expertise und Hingabe unseres Champagnerhauses zeigt er, indem er sich (und andere) vor unterschiedlichen Hintergründen in Szene setzt – und camouflage-artig darin verschwinden lässt.
Wegen seines reichen Erfahrungsschatzes und der Variationsbreite seiner Arbeit ist es kaum möglich, einen Künstler wie Liu Bolin einzuordnen. Bolin gehört zu jener Generation von Künstlern, deren Werke verknüpft sind mit Chinas Wandel. „Als ich mit meinen Recherchen zu Ruinart begonnen habe, sind mir als erstes das einzigartige Know-how des ältesten Champagnerhauses der Welt und die außerordentliche Schönheit dieses historischen Platzes aufgefallen.“
Hiding in the Blanc de Blancs crayère
"The beauty and majesty of this place intrigued me instantly. There are almost 30 metres of empty space above your head when you walk into this chalk cellar. You get a striking sense of time and history here. I loved the delicacy of how the human hand works its magic, with the manual riddling techniques [ancestral know-how that takes years of training to learn]. The complexity and light inside the cellars have a confusing impact on colours, so this photo was a major challenge. However, I particularly love the result, which required two long days spent painting."
Hiding in Mucha posters
"The relationship I have with art is essential for my work. In the past, I've worked on canvases by Van Gogh or Picasso. More recently, I collaborated with JR in New York, and in front of his collage at the Pyramide du Louvre. Alphonse Mucha [the first artist with whom Ruinart created a collaboration in 1896] is a key figurehead in Art Nouveau, and I felt some very powerful emotions when I worked on this image."
"This space caught my attention, because it is a passage. It leads down inside the earth, from the soil and vineyards to the cellars and production area. It's the connection between the crop and the production of champagne. I love transitional spaces. They are very informative. For the first time, I changed my position by reaching out with my arms. It gives the image another dimension."
Lost in Blanc de Blancs bottles
"I think this was the most difficult photograph I have ever produced. Because I had to paint both the front and the back of my body due to the mirrors and the reflections, which is a first for me. Frédéric Panaïotis assisted me with this image, which is the last in the series that began in the vineyards. There is a loss of bearings in this photo that I love most of all. You wonder what you are seeing, and if it is reality or a projection of reality. That's how the Maison Ruinart draws you in."
The secret crayère
"When I visited the Ruinart chalk cellars, I found ancient inscriptions that echoed the past history of the brand, which goes back almost 300 years. Having started out as a sculptor, the date (1898) and the word (Classe) which are etched into the wall struck me immediately. I then decided to paint my left arm, the one I use to create, with the chalk I found on the floor there. It was a way of drawing the champagne from its history."
Hiding in the gyropalettes with Pablo
"Riddling was originally performed by hand, then these enormous gyropalettes-riddling machines were introduced to relieve employees of that burden. Pablo, a Ruinart employee who operates this machine, astounded me with his know-how, serenity and patience. He is able to "read the wine", so that the gyropalette can be programmed properly, and becomes an extension of his hand. I loved the volumes and reflections in this scene, with its very specific orange light that is difficult to reproduce deep inside the cellars."
Disgorgement production line with workers
"I've always been fascinated by people who produce. To my mind, they are the ones who make the world go around. In 2006, I created an image with Chinese workers, which was a memorable experience. I found the same relationship here. Taking a photograph with four models is never easy, but they remained completely focused on their tool. The mood for this image verges on science fiction."
Hiding in the vineyards with the Ruinart Cellar Master
"It was just a few days before the harvest. You could sense the flurry of activity that would soon commence. I shared this image with Frédéric Panaïotis, the Ruinart cellar master. His knowledge was incredible. About wine obviously, but above all about nature, the earth and botany. He was constantly moving, and spent his time examining the vines. It was a fascinating experience, despite variable weather and changing light."
Der chinesische Künstler Liu Bolin benutze Jacken, die er bei seinen Perfomances trägt, um daraus eine außergewöhnliche Dekoration für die zehn hölzernen Boxen zu gestalten. Jede ist nummeriert. In der Box befindet sich eine Ruinart Blanc de Blancs Jeroboam.
Als Schirmherr für zeitgenössische Kunst und Design ist die Maison Ruinart überall auf der Welt zu finden, wo Künstler die Freiheit haben, sich auszudrücken und ihre Werke auszustellen.
Folgen Sie der Zusammenarbeit zwischen Liu Bolin und Ruinart bei großen Kunstmessen.