the plate

source: lucilebe

As soons a plate is broken, an entire mechanism comes into play, with the broken plate being replaced by another one. This is subsequently also broken and replaced, etc.etc. And the dance begins, thereby giving life to the plate. As a direct reference to La Louvière’s ceramics manufactoring heritage, the huge broken plate can be seen as both an archeological artefact -an expression of the industry’s decline-, and as an incongruous surreal object. Themes such as fragility, impermanence and the passage of time are not frequently dealt with in public space and thus, the plate highlights the dynamism of constant mutation. La Louvière manufactured plates for more than 160 years.
.
.
.
.
.
.
.
.
source: finedininglovers

Belgian artists Bernard Gigounon and Lucille Soufflet seems to think so. Together, they created a stunning sculpture of an enormous plate shattered into pieces.

The sculpture is being featured in La Louviere, a small town in Belgium that manufactured plates for over 160 years. The piece was created to explore the themes of ambiguity, impermanence and the passage of time.
.
.
.
.
.
.
.
.
source: designboom

Belgian artist bernard gigounon has collaborated with designer lucile soufflet to create the large-scale public installation ‘the plate’. the artwork is characterized by an over-sized plate shattered into shards, resting on the sidewalk and is a direct reference to la louvière’s ceramics manufacturing heritage – a town that has manufactured plates for 160 years. the artist describes the philosophy behind the mammoth crockery:

‘the huge broken plate can be seen as both an archeological artifact – an expression of the industry’s decline and as an incongruous surreal object. themes such as fragility, impermanence and the passage of time are not frequently dealt with in public space and thus,
the plate highlights the dynamism of constant mutation‘.
.
.
.
.
.
.
.
source: itsnicethat

As a whippersnapper I always had a reputation for being a bit of a butterfingers, and breaking the familial crockery was something of a hallmark of my pre-adolescence. So much so that the sight of this sculpture is enough to make me a bit panicy, but luckily I’ve got beyond my ceramicware issues to enjoy the majesty of this.

It’s a collaboration between Belgian duo Lucile Soufflet and Bernard Gigounon, whose video work we’ve long been fans of (like this http://www.itsnicethat.com/articles/951-bernard-gigounon and this http://www.itsnicethat.com/articles/bernard-gigounon-karaoke). It’s been set up in La Louvière, a small Belgian town with a 160-year platemaking heritage but the familiar contemporary struggles of one-industry towns.

“As soon as a plate is broken, an entire mechanism comes into play, with the broken plate being replaced by another one, Bernard writes on his site. ”

This is subsequently also broken and replaced, etc.etc. And the dance begins, thereby giving life to the plate… The huge broken plate can be seen as both an archeological artefact an expression of the industry’s decline and as an incongruous surreal object. Themes such as fragility, impermanence and the passage of time are not frequently dealt with in public space and thus, the plate highlights the dynamism of constant mutation.”
.
.
.
.
.
.
.
source: ichaobai

比利时街头惊现一只巨大的破碎盘子？！非也，非也。这其实是一款雕塑，是艺术家Lucile Soufflet和Bernard Gigounon受比利时城市拉卢维耶尔所托而创造的，为这座拥有160年瓷盘制作历史的城市而创作的巨型雕塑品，用以嘲讽当时下滑的经济犹如破盘子。
.
.
.
.
.
.
.
.
.
source: bgigounonbe

As soons a plate is broken, an entire mechanism comes into play, with the broken plate being replaced by another one. This is subsequently also broken and replaced, etc.etc. And the dance begins, thereby giving life to the plate. As a direct reference to La Louvière’s ceramics manufactoring heritage, the huge broken plate can be seen as both an archeological artefact -an expression of the industry’s decline-, and as an incongruous surreal object. Themes such as fragility, impermanence and the passage of time are not frequently dealt with in public space and thus, the plate highlights the dynamism of constant mutation. La Louvière, a little town in Belgium, manufactured plates for more than 160 years.
.
.
.
.
.
.
.
.
source: bgigounonbe

Lorsque l’on casse une assiette, c’est tout un mécanisme qui se met en route. Elle est remplacée aussitôt, jusqu’à ce qu’elle se brise à son tour et ainsi de suite. Alors la ronde des assiettes commence. C’est ce processus même qui maintient l’assiette en vie. En référence à l’importante activité faïencière de ville de La Louvière, l’assiette brisée et démesurée hésite entre vestige archéologique, expression de la fêlure du déclin industriel et le côté incongru d’un objet surdimensionné. Abordant des thèmes peu assumés dans l’espace public, fragilité, précarité, impermanence, écoulement du temps, elle porte également en elle la dynamique d’une constante mutation. La Louvière, petite ville de belgique a fabriqué des assiettes pendant 160 ans.
.
.
.
.
.
.
.
.
source: galatea-arte

Desde hace más de 160 años el pequeño pueblo de La Louvière, al este de Bélgica, se dedica a la tradicional producción de platos de cerámica, producción que se ha visto afectada por la crisis económica del euro.

Es bajo esta premisa que los artistas belgas Lucile Soufflet y Bernard Gigounon crean la obra El plato o The Plate. El gran tamaño de la obra, hace referencia a la importancia de la tradición, enfatizando al mismo tiempo el impacto que las crisis sociales y económicas tienen en las costumbres y tradiciones. Es una obra que también nos lleva hacia lo surreal y lo absurdo ¿cuándo nos encontramos un plato roto gigante mientras caminamos?

Vanitas, una “naturaleza muerta” contemporánea, es como Bernard, mismo lo dice en su sitio, toca temas como la fragilidad, el pasar del tiempo, lo efímero, la vida y, por lo tanto, la muerte.
.
.
.
.
.
.
.
.
source: dailylifesu

Почти у каждого человека случалось, что он случайно разбивал тарелку. Хотя, это ведь, к счастью, поэтому можно побить немного посуды и просто так. Возможно, что именно счастье и хотели принести жителям бельгийского города Ла-Лувьер художники Lucile Soufflet и Bernard Gigounon, когда размещали на одной из его улочек скульптуру гигантской разбитой тарелки. Хотя есть и другая версия объясняющая почему была создана именно тарелка, а не что-то ещё. Дело в том, что жители Ла-Лувьера на протяжении уже 160 лет производят тарелки.
.
.
.
.
.
.
.
.
source: paperdreamblog

The Plate é um projeto especial colaborativo entre Lucile Soufflet e Bernard Gigounon para uma pequena cidade na Bélgica chamada La Louvière, e que é conhecida a mais de 160 anos pela produção de pratos.