FRANCE • PORTUGAL • SYRIA • BRAZIL • EGYPT • ITALY • ENGLAND • CHINA
PARIS - VALENCIA
2017 -2018
7 pÉchÉs capitaux
Fem exposicio 2.0 , at UPV, Valencia
ARTIST:
KÚN 君
Péché comes from the Latin "peccatum", which means fault, error.
In the Catholic and Orthodox tradition, deadly sins (péché capitaux) correspond to the sins from which all others derive.
Capitaux comes from the Latin "caput" (meaning "head"), in comparison to that part of the body which directs the whole: capital sin leads to other sins. Hence their symbolic number of 'seven', suggesting the totality of sins.
The seven deadly sins identified are: laziness, pride, gluttony, lust, greed, avarice, anger and envy.
(in french l’acédie (ou la paresse), l’orgueil, la gourmandise, la luxure, l’avarice, la colère et l’envie)
The deadly sins (or vices) are thus (and rightly so) scouts, they open the way and guide all other sins. With the help of images found in magazines, on the internet, in books, or even taken and created from scratch by the artist.
He created 7 images, each depicting a cardinal sin.
The works resulting from this project
Acédie, (Imaan)se, 2017
Orgueil, 2017
Luxure, 2017
Gourmandise, 2017
Colère, la haine 2018
L’envie, 2018
Avarice, 2018
KÚN 君
KÚN's artistic approach.
KÚN 君 comes from the Japanese suffix "-kun".
It is used when talking to a person of the same age and social level as yourself.
It is a way to position yourself as an artist on the same level as the person who looks, interprets or talks about your work;
To give as much importance to the word of the other as one's own;
Leaving aside the image of the artist feeling superior to the rest of human beings.
He began the collages by collecting images -in advertisements, old magazines, on the internet- and literally exchanging the functions found in these images, breaking the codes and provoking the viewer.
This is how he came - with a certain obsession - to want to reveal links, obvious to him, between things that a priori have none.
This process has as its end and beginning that everything has its equivalence. It is a constant search for the best way to materialize his gaze, through a work, so that this work can itself be interpreted by the beholder.
BY THE SAME ARTIST:
