{"id":1949933,"date":"2026-03-27T02:26:00","date_gmt":"2026-03-26T23:26:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1949933"},"modified":"2026-03-27T02:26:00","modified_gmt":"2026-03-26T23:26:00","slug":"anselm-kiefer-transforme-la-galerie-ropac-de-pantin-en-cathedrale-de-matieres-vivantes","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1949933","title":{"rendered":"Anselm Kiefer transforme la galerie Ropac de Pantin en cath\u00e9drale de mati\u00e8res vivantes"},"content":{"rendered":"<div class=\"entry-content\">\n<section class=\"single-header padding-top-s\">\n<div class=\"container\">\n<div class=\"row justify-content-between\">\n<div class=\"col-lg-9 col-xl-8\">\n<div class=\"video-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"container-img desktop\">\n                                <img loading=\"lazy\" decoding=\"async\" width=\"1864\" height=\"1190\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-push.jpg\" class=\"img-fluid\" alt=\"Vue de l\u2019exposition \u201cNymph\u00e4um\u201d Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin.\">\t\t\t\t\t\t\t\t<\/p>\n<p class=\"number big\">22<\/p>\n<\/p><\/div>\n<div class=\"container-img mobile\">\n                                <img loading=\"lazy\" decoding=\"async\" width=\"716\" height=\"900\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20716%20900'%3E%3C\/svg%3E\" class=\"img-fluid\" alt=\"Anselm Kiefer, Klytia (2025). \u00c9mulsion, peinture \u00e0 l\u2019huile, peinture acrylique, gomme-laque, feuille d\u2019or, s\u00e9diments d\u2019\u00e9lectrolyse et collage de toile sur toile, 380 \u00d7 280 cm.\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-thumb.jpg\"><img decoding=\"async\" width=\"716\" height=\"900\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-thumb.jpg\" class=\"img-fluid\" alt=\"Anselm Kiefer, Klytia (2025). \u00c9mulsion, peinture \u00e0 l\u2019huile, peinture acrylique, gomme-laque, feuille d\u2019or, s\u00e9diments d\u2019\u00e9lectrolyse et collage de toile sur toile, 380 \u00d7 280 cm.\" loading=\"lazy\">\t\t\t\t\t\t\t\t<\/p>\n<p class=\"number big\">22<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"col col-lg-3 col-xl-4 desktop\">\n<div class=\"ad grand-angle desktop\">\n    <!-- \/21730003857\/numero-ad-unit\/numero-grand-angle --><\/p>\n<div class=\"ad-responsive\">\n<div id=\"div-gpt-ad-1773673590069-0\" class=\"ads-pub px-0\">\n<p>                googletag.cmd.push(function () {<br \/>\n                    googletag.display(&#8216;div-gpt-ad-1773673590069-0&#8217;);<br \/>\n                });<\/p><\/div>\n<\/p><\/div>\n<\/div><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n<section class=\"post-content\">\n<div class=\"container\">\n<div class=\"row g-0 justify-content-between\">\n<div class=\"col-lg-9 col-xl-8 padding-top-s\">\n<p class=\"share-widget\" id=\"share-widget\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/share.svg\" alt=\"share-widget\"><\/p>\n<div class=\"share-icons\" id=\"share-icons\">\n<p class=\"copy-link\"><img decoding=\"async\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%200%200'%3E%3C\/svg%3E\" alt=\"copy-link\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/copy-link.svg\"><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/copy-link.svg\" alt=\"copy-link\"><br \/>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.facebook.com\/sharer\/sharer.php?u=https:\/\/numero.com\/art\/numero-art\/anselm-kiefer-transforme-la-galerie-ropac-de-pantin-en-cathedrale-de-matieres-explosives\/\" class=\"facebook\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/facebook.svg\" alt=\"facebook\"><\/a><br \/>\n\t\t\t\t\t\t\t<a href=\"https:\/\/twitter.com\/share?url=https:\/\/numero.com\/art\/numero-art\/anselm-kiefer-transforme-la-galerie-ropac-de-pantin-en-cathedrale-de-matieres-explosives\/\" class=\"twitter\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/twitter.svg\" alt=\"twitter\"><\/a>\n\t\t\t\t\t\t<\/div>\n<p>\t\t\t\t\t\t<span class id=\"custom-tooltip\">Lien copi\u00e9<\/span><\/p>\n<div class=\"col-lg-10\">\n<div class=\"meta d-flex justify-content-between align-items-center\">\n<div class=\"cat\">\n\t\t\t\t\t\t\t\t\t<a class=\"cat-title\" href=\"https:\/\/numero.com\/category\/art\/numero-art\/\">Num\u00e9ro Art<\/a>\t\t\t\t\t\t\t\t<\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t22 mai 2026\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<h1>Anselm Kiefer transforme la galerie Ropac de Pantin en cath\u00e9drale de mati\u00e8res vivantes<\/h1>\n<div class=\"introduction\">\n<p>\u00c0 Pantin, Anselm Kiefer transforme cet \u00e9t\u00e9 la galerie Ropac en une cath\u00e9drale de mati\u00e8res vivantes, turgescentes et d\u00e9mesur\u00e9es. Avec Nymph\u00e4um, cycle consacr\u00e9 aux nymphes, l\u2019artiste allemand m\u00eale avec la puissance qu\u2019on lui connait mythologie, ruines contemporaines et paysages en mutation dans des \u0153uvres monumentales o\u00f9 l\u2019or, la cendre, le plomb et la peinture semblent toujours en mutation. Une exposition volcanique \u00e0 voir jusqu\u2019au 25 octobre 2026.<\/p>\n<\/div>\n<li class=\"credits d-flex\">\n<p>\n\t\t\t\t\t\t\t\t\t\t\tPar\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/numero.com\/contributor\/thibaut-wychowanok\/\">Thibaut Wychowanok<\/a>.\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/li>\n<div id=\"ads03\" class=\"mobile padding-bottom-s\">\n<div class=\"ad-wrapper\">\n\t\t\t\t\t\t\t\t\t<!-- \/21730003857\/numero-ad-unit\/numero-interscroller --><\/p>\n<div class=\"ad ad-responsive interscroller-slot\">\n<div id=\"div-gpt-ad-1773673675628-0\" class=\"ads-pub\">\n<p>            googletag.cmd.push(function () {<br \/>\n                googletag.display(&#8216;div-gpt-ad-1773673675628-0&#8217;);<br \/>\n            });<\/p><\/div>\n<\/div><\/div>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t&lt;!&#8211; <\/p>\n<div class=\"padding-bottom-s\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n<p> &#8211;&gt;<\/p>\n<figure data-wp-context='{\"imageId\":\"6a10978621262\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a10978621262\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"671\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/Anselm-Kiefer-Klytia.jpg\" alt=\"Anselm Kiefer, Klytia (2025). \u00c9mulsion, peinture \u00e0 l\u2019huile, peinture acrylique, gomme-laque, feuille d\u2019or, s\u00e9diments d\u2019\u00e9lectrolyse et collage de toile sur toile, 380 \u00d7 280 cm. \" class=\"wp-image-847061\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Anselm Kiefer, <em>Klytia<\/em> (2025). \u00c9mulsion, peinture \u00e0 l\u2019huile, peinture acrylique, gomme-laque, feuille d\u2019or, s\u00e9diments d\u2019\u00e9lectrolyse et collage de toile sur toile, 380 \u00d7 280 cm. Courtesy Thaddaeus Ropac gallery. Photos: Nina Slavcheva \u00a9 Anselm Kiefer. <\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">L\u2019espace de Pantin m\u00e9tamorphos\u00e9 par Kiefer<\/h2>\n<p>Comme une nef qui aurait surv\u00e9cu \u00e0 un incendie ancien, <strong>la galerie Ropac de Pantin a quelque chose d\u2019une cath\u00e9drale apr\u00e8s la catastrophe<\/strong>, offrant au regard un sublime abyssal qui vous happe et vous engloutit. La vingtaine de toiles d\u2019<strong>Anselm Kiefer<\/strong> ne se regardent pas frontalement : elles se traversent comme des ruines encore chaudes. <\/p>\n<p>La lumi\u00e8re blanche du lieu se cogne \u00e0 leurs surfaces \u00e9paisses, se perd dans les crevasses de peinture, dans les strates de mati\u00e8re, dans ses plaies, dans les coulures d\u2019oxydation et les fragments de plomb incrust\u00e9s comme des \u00e9clats fossiles. Avec l\u2019exposition \u201cNymph\u00e4um\u201d, <strong>Kiefer<\/strong> transforme l\u2019espace de Pantin en sanctuaire tellurique, un lieu o\u00f9 la mythologie grecque remonte \u00e0 la surface sous forme de cendres, de boue, d\u2019or et de m\u00e9moire.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a10978621667\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a10978621667\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20600'%3E%3C\/svg%3E\" alt=\"Vue de l\u2019exposition \u201cNymph\u00e4um\u201d Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin.\" class=\"wp-image-847071\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-ropac3.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-ropac3.jpg\" alt=\"Vue de l\u2019exposition \u201cNymph\u00e4um\u201d Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin.\" class=\"wp-image-847071\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition \u201cNymph\u00e4um\u201d d\u2019Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin. Courtesy Thaddaeus Ropac gallery. Photos: Pierre Tanguy \u00a9 Anselm Kiefer. <\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Les nymphes d\u2019Anselm Kiefer<\/h2>\n<p>Le titre de l\u2019exposition renvoie en effet aux nymph\u00e9es antiques, ces sanctuaires d\u00e9di\u00e9s aux nymphes, aux sources et aux puissances invisibles de la nature. Mais chez <strong>Kiefer<\/strong>, rien n\u2019a de l\u2019idylle pastorale. Les nymphes ne vivent plus dans des bosquets lumineux ou des fontaines de marbre : elles surgissent dans un monde posthume, entre les d\u00e9combres de l\u2019Histoire et les derniers restes du paysage. <\/p>\n<p>La sp\u00e9cialiste de l\u2019art d\u2019apr\u00e8s-guerre <strong>Corinna Thierolf <\/strong>\u00e9crit fort \u00e0 propos dans le catalogue que les nymphes de <strong>Kiefer<\/strong> <em>\u201csemblent d\u00e9j\u00e0 se d\u00e9rober aux regards, avec leurs contours impr\u00e9cis, comme nimb\u00e9es d\u2019une aura spectrale\u201d.<\/em> C\u2019est exactement cela : elles apparaissent moins comme des figures que comme des survivances. Des pr\u00e9sences en train de dispara\u00eetre.<\/p>\n<p>La monumentalit\u00e9 des \u0153uvres agit imm\u00e9diatement sur le corps. Certaines toiles d\u00e9passent plusieurs m\u00e8tres de haut ; elles \u00e9crasent le regard autant qu\u2019elles l\u2019absorbent. Dans les salles de Pantin, <strong>les peintures deviennent des architectures.<\/strong> On ne fait plus face \u00e0 des tableaux mais \u00e0 des parois, des falaises, des autels. Les surfaces sont scarifi\u00e9es, labour\u00e9es, ouvertes comme une terre apr\u00e8s le bombardement. La peinture n\u2019est plus seulement picturale : elle devient min\u00e9rale.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a10978621a31\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a10978621a31\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20600'%3E%3C\/svg%3E\" alt=\"Vue de l\u2019exposition \u201cNymph\u00e4um\u201d Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin.\" class=\"wp-image-847069\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-ropac2.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-ropac2.jpg\" alt=\"Vue de l\u2019exposition \u201cNymph\u00e4um\u201d Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin.\" class=\"wp-image-847069\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition \u201cNymph\u00e4um\u201d d\u2019Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin. Courtesy Thaddaeus Ropac gallery. Photos: Pierre Tanguy \u00a9 Anselm Kiefer. <\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Des paysages urbains en ruine<\/h2>\n<p>Dans les immenses paysages urbains, des gratte-ciel aux fen\u00eatres couvertes de feuille d\u2019or \u00e9mergent d\u2019un chaos v\u00e9g\u00e9tal presque organique. Les b\u00e2timents semblent \u00e0 la fois pousser et pourrir. Des branchages noirs traversent les fa\u00e7ades comme des veines. L\u2019or scintille au milieu des verts profonds, des noirs bitumeux et des bruns rouill\u00e9s avec quelque chose de byzantin, presque liturgique. <strong>Corinna Thierolf <\/strong>rapproche ces tableaux du <em>Baiser <\/em>(1908-1909) de <strong>Klimt<\/strong> ; on pense aussi aux mosa\u00efques de <strong>Ravenne<\/strong> ou \u00e0 certaines ic\u00f4nes mang\u00e9es par le temps. Mais chez <strong>Kiefer<\/strong>, la lumi\u00e8re ne sauve rien : elle \u00e9claire les ruines.<\/p>\n<p>L\u2019une des toiles les plus troublantes montre un visage f\u00e9minin flottant au-dessus d\u2019une ville nocturne. Le visage appara\u00eet \u00e0 peine, suspendu dans une masse de feuillages et de mati\u00e8re verte. Il faut du temps pour le voir \u00e9merger. Puis il dispara\u00eet de nouveau dans l\u2019\u00e9paisseur du tableau. La peinture agit ici comme une m\u00e9moire instable. <strong>Kiefer<\/strong> ne repr\u00e9sente pas les nymphes ; il fait en sorte qu\u2019elles hantent la surface.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a10978621daa\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a10978621daa\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20600'%3E%3C\/svg%3E\" alt=\"Anselm Kiefer, Paravent (2021\u201325). \u00c9mulsion, peinture \u00e0 l\u2019huile, peinture acrylique, gomme-laque, s\u00e9diments d\u2019\u00e9lectrolyse, paille et collage de toile sur toile, 380 \u00d7 760 cm. \" class=\"wp-image-847065\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-Paravent.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-Paravent.jpg\" alt=\"Anselm Kiefer, Paravent (2021\u201325). \u00c9mulsion, peinture \u00e0 l\u2019huile, peinture acrylique, gomme-laque, s\u00e9diments d\u2019\u00e9lectrolyse, paille et collage de toile sur toile, 380 \u00d7 760 cm. \" class=\"wp-image-847065\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Anselm Kiefer, <em>Paravent<\/em> (2021\u201325). \u00c9mulsion, peinture \u00e0 l\u2019huile, peinture acrylique, gomme-laque, s\u00e9diments d\u2019\u00e9lectrolyse, paille et collage de toile sur toile, 380 \u00d7 760 cm. Courtesy Thaddaeus Ropac gallery. Photos: Pierre Tanguy \u00a9 Anselm Kiefer. .<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Une mise en espace immersive des \u0153uvres<\/h2>\n<p>Cette sensation traverse toute l\u2019exposition. Les deux immenses paravents peints jouent ici un r\u00f4le d\u00e9cisif. Chez <strong>Kiefer<\/strong>, le tableau cesse litt\u00e9ralement d\u2019\u00eatre une surface frontale pour devenir une architecture mobile, un dispositif qui fracture et recompose l\u2019espace. Le spectateur ne circule plus devant les \u0153uvres mais autour d\u2019elles, comme dans un d\u00e9ambulatoire. <\/p>\n<p>Les panneaux articul\u00e9s ouvrent des angles morts, des replis, des zones d\u2019apparition et de disparition qui correspondent parfaitement \u00e0 cette id\u00e9e de la nymphe comme figure insaisissable. <strong>Corinna Thierolf<\/strong> \u00e9crit que <em>\u201cle peintre semble vouloir offrir aux nymphes un refuge \u00e9ph\u00e9m\u00e8re, \u00e0 la mesure de leur fugacit\u00e9\u201d.<\/em> Cette id\u00e9e devient physique dans l\u2019espace de <strong>Pantin<\/strong> : les paravents cr\u00e9ent des chambres provisoires, des sanctuaires pr\u00e9caires au milieu de la nef.<\/p>\n<p>L\u2019un des plus saisissants poss\u00e8de un revers enti\u00e8rement dor\u00e9. Vu de loin, il agit presque comme un retable byzantin ou un fragment d\u2019ic\u00f4ne monumentale d\u00e9plac\u00e9 dans l\u2019espace industriel de la galerie. Mais en s\u2019approchant, l\u2019or cesse d\u2019\u00eatre pur ; il est ray\u00e9, bross\u00e9, sali, mang\u00e9 par des halos noirs et des silhouettes fantomatiques. Les visages semblent flotter sous la surface m\u00e9tallique comme des apparitions enferm\u00e9es dans la mati\u00e8re. Le panneau refl\u00e8te la lumi\u00e8re froide de la verri\u00e8re tout en absorbant le regard. On pense \u00e0 certains fonds d\u2019or m\u00e9di\u00e9vaux, mais aussi \u00e0 quelque chose de plus spectral : un \u00e9cran br\u00fbl\u00e9, une image presque effac\u00e9e.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a10978622164\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a10978622164\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"361\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20361'%3E%3C\/svg%3E\" alt=\"Anselm Kiefer, Die Oreaden (2025).\" class=\"wp-image-847133\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-die-oreaden.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"900\" height=\"361\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-die-oreaden.jpg\" alt=\"Anselm Kiefer, Die Oreaden (2025).\" class=\"wp-image-847133\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Anselm Kiefer, <em>Die Oreaden<\/em> (2025). \u00c9mulsion, peinture \u00e0 l\u2019huile, peinture acrylique, gomme-laque, feuille d\u2019or, s\u00e9diments d\u2019\u00e9lectrolyse et collage de toile sur toile, 280 \u00d7 760 cm. Courtesy Thaddaeus Ropac gallery. Photos: Nina Slavcheva \u00a9 Anselm Kiefer. <\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\"><em>Die Oreaden<\/em> et la m\u00e9moire du d\u00e9sastre<\/h2>\n<p>Dans <em>Die Oreaden<\/em> (2025), immense panorama de pr\u00e8s de huit m\u00e8tres, les visages f\u00e9minins apparaissent au pied d\u2019un vaste crat\u00e8re montagneux. Le ciel cuivre l\u2019ensemble d\u2019une lumi\u00e8re de fin du monde. Les t\u00eates \u00e9mergent de la mati\u00e8re comme des masques arch\u00e9ologiques encore pris dans la boue. <strong>Kiefer<\/strong> fait coexister la catastrophe et la naissance. Le crat\u00e8re devient \u00e0 la fois tombe et matrice. On pense aux souvenirs d\u2019enfance de l\u2019artiste jouant dans les ruines de l\u2019Allemagne d\u00e9truite. Chez lui, <strong>le paysage garde toujours la m\u00e9moire du d\u00e9sastre<\/strong>.<\/p>\n<p>Cette m\u00e9moire traverse aussi les \u0153uvres marines. Dans une immense toile domin\u00e9e par des bleus profonds et des noirs m\u00e9talliques, une figure allong\u00e9e flotte \u00e0 la surface de l\u2019eau sous un ciel cosmique presque liquide. Les pigments bleus semblent avoir \u00e9t\u00e9 vers\u00e9s directement sur la toile avant d\u2019\u00eatre br\u00fbl\u00e9s ou corrod\u00e9s. La surface r\u00e9fl\u00e9chit la lumi\u00e8re comme du p\u00e9trole. Le corps para\u00eet pris dans un mouvement de dissolution, comme s\u2019il retournait \u00e0 l\u2019\u00e9l\u00e9ment m\u00eame qui l\u2019a produit. Ici encore, la peinture agit comme un cycle de transformation : rien n\u2019est stable, tout retourne \u00e0 la mati\u00e8re.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a109786224f6\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a109786224f6\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20600'%3E%3C\/svg%3E\" alt=\"Vue de l\u2019exposition \u201cNymph\u00e4um\u201d Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin.\" class=\"wp-image-847059\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/Anselm-Kiefer-Actaea.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/Anselm-Kiefer-Actaea.jpg\" alt=\"Vue de l\u2019exposition \u201cNymph\u00e4um\u201d Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin.\" class=\"wp-image-847059\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition \u201cNymph\u00e4um\u201d d\u2019Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin. Courtesy Thaddaeus Ropac gallery. Photos: Pierre Tanguy \u00a9 Anselm Kiefer. <\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">La mati\u00e8re comme trace du temps<\/h2>\n<p><strong>Kiefer<\/strong> travaille la toile comme on travaille un terrain. Chaque surface porte les traces du temps : oxydations, craquelures, d\u00e9p\u00f4ts, coulures. La mati\u00e8re devient m\u00e9moire physique. <strong>Corinna Thierolf <\/strong>\u00e9voque \u00e0 juste titre les <em>Oxidation Paintings<\/em> (1977-1978) d\u2019<strong>Andy Warhol <\/strong>; mais chez <strong>Kiefer<\/strong>, la r\u00e9action chimique semble charg\u00e9e d\u2019une gravit\u00e9 historique. La peinture ne c\u00e9l\u00e8bre pas la surface : elle l\u2019use, la consume, la fait vieillir sous nos yeux.<\/p>\n<p>Cette r\u00e9sistance est peut-\u00eatre le v\u00e9ritable sujet de l\u2019exposition. Plus profond\u00e9ment encore, \u201cNymph\u00e4um\u201d affirme une id\u00e9e qui traverse toute l\u2019\u0153uvre de <strong>Kiefer<\/strong> depuis des d\u00e9cennies : l\u2019imbrication intime de l\u2019humanit\u00e9 avec les cycles de la nature. Chez lui, l\u2019\u00eatre humain n\u2019existe jamais s\u00e9par\u00e9ment du paysage, de la terre ou des \u00e9l\u00e9ments. Les corps semblent na\u00eetre des mati\u00e8res m\u00eames qui les entourent avant d\u2019y retourner lentement.<\/p>\n<p>Les visages apparaissent dans les feuillages, les montagnes prennent des formes organiques, les architectures se couvrent de v\u00e9g\u00e9tation comme si la nature finissait toujours par reconqu\u00e9rir ce que l\u2019Histoire humaine avait tent\u00e9 de figer. Rien n\u2019est stable, rien n\u2019est autonome. Les ruines, les arbres, l\u2019eau, les m\u00e9taux oxyd\u00e9s et les figures mythologiques participent d\u2019un m\u00eame cycle de destruction et de renaissance.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a10978622893\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a10978622893\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20600'%3E%3C\/svg%3E\" alt=\"Vue de l\u2019exposition \u201cNymph\u00e4um\u201d Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin.\" class=\"wp-image-847057\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-ropac4.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/kiefer-ropac4.jpg\" alt=\"Vue de l\u2019exposition \u201cNymph\u00e4um\u201d Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin.\" class=\"wp-image-847057\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019exposition \u201cNymph\u00e4um\u201d d\u2019Anselm Kiefer \u00e0 la galerie Thaddaeus Ropac Pantin. Courtesy Thaddaeus Ropac gallery. Photos: Pierre Tanguy \u00a9 Anselm Kiefer. <\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">La peinture de Kiefer, un lieu o\u00f9 le monde continue de se d\u00e9battre avec ses fant\u00f4mes<\/h2>\n<p>C\u2019est pr\u00e9cis\u00e9ment ce que rendent sensibles les surfaces de <strong>Kiefer<\/strong>. Les couches de peinture, les r\u00e9actions chimiques, les d\u00e9p\u00f4ts et les craquelures ne servent pas uniquement \u00e0 produire une image : ils mat\u00e9rialisent le temps lui-m\u00eame. La toile devient un sol o\u00f9 s\u2019accumulent les traces de la m\u00e9moire humaine et les forces naturelles. Une civilisation dispara\u00eet, la v\u00e9g\u00e9tation revient ; une figure s\u2019efface, une autre \u00e9merge de la mati\u00e8re. <\/p>\n<p>Les nymphes deviennent alors moins des personnages mythologiques que les manifestations de cette continuit\u00e9 profonde entre le vivant, le min\u00e9ral et l\u2019histoire humaine. Les nymphes de <strong>Kiefer<\/strong> ne sont pas des figures d\u00e9coratives ; elles incarnent une force archa\u00efque qui survit \u00e0 travers les si\u00e8cles, malgr\u00e9 les destructions humaines. <\/p>\n<p>Elles traversent les guerres, les ruines industrielles, les villes modernes. Elles r\u00e9apparaissent dans les feuillages qui envahissent les buildings, dans les silhouettes dissoutes dans l\u2019eau, dans les visages qui remontent lentement de la mati\u00e8re. Chez <strong>Kiefer<\/strong>, la peinture demeure encore et encore un lieu o\u00f9 le monde continue de se d\u00e9battre avec ses fant\u00f4mes.<\/p>\n<p><em>\u201cNymph\u00e4um\u201d,<\/em> exposition jusqu\u2019au 25 octobre 2026, \u00e0 la <strong><a href=\"https:\/\/ropac.net\" id=\"https:\/\/ropac.net\">galerie Thaddeus Ropac<\/a><\/strong>, Pantin.<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"col-lg-3\">\n<div class=\"suggested-posts padding-top-s\">\n<div class=\"title\">Recommand\u00e9<\/div>\n<div class=\"post-card\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/art\/photographie\/nan-goldin-paris-exposition-soeurs-saintes-sibylles\/\"><\/p>\n<div class=\"container-img \">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"804\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20640%20804'%3E%3C\/svg%3E\" class=\"img-fluid\" alt 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Avec Nymph\u00e4um, cycle consacr\u00e9 aux nymphes, l\u2019artiste allemand m\u00eale [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[226,258],"class_list":["post-1949933","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-crawlmanager","tag-numero-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1949933","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1949933"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1949933\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1949933"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1949933"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1949933"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}