At first glance, Nicolas Boulard’s works seem part of a specific heritage, that of minimal art and conceptual art. The forms are geometric, circles, spheres, polyhedrons. The artist gives great importance to the void, to space, to time and geometry. However, in going closer to the works, the viewer perceives other information that comes from the living, the sentient world. Soil, cheese, water, wine are combined with strictly geometric forms.
This parcel was devised with the same care as a top-ranked ‘grand cru’ vineyard, applying the precepts published by Jean-Antoine Chaptal in 1819 in his treatise “L’Art de faire le vin”, dealing with the effects of climate, soil, exposure and sun on the grape. By using a tipping-trailer for orienting the hillside parcel towards the sun, Nicolas Boulard optimised the profitability of this vine while making it moveable. he variety used in Le Clos mobile was a Chardonnay which, in addition to being the most widespread vine in the world (Europe, Chile, California, Australia, South Africa), has the distinctive feature of producing very different aromas on the basis of a the ‘terroir’ and the wine-making procedures used.
A hail cannon is a shock wave generator claimed to disrupt the formation of hailstones in the atmosphere.
These devices frequently engender conflict between farmers and neighbors when used, because they are repeatedly fired every 1 to 10 seconds while a storm is approaching and until it has passed through the area, yet there is little or no scienti- fic evidence for their effectiveness.
Built in 1909 by Vermorel factory in Villefranche (Rhône). Formed of two concentric drums secured to the ends of a truss beam. Cell steerable in all directions. The elevator and deleted direction; replaced by the operation of the cell before mounted on double articulation. The cells consist of two concentric drums braced by plans arranged rays forming foils and stabi- lizers, 4 bearing wheels. Those of steerable front, those fixed rear. 40 HP engine. 8 cylinders Vermorel. Helix in the front of the apparatus of 2.40m in diameter.
On October 29, 1954, Mr. Lucien Jeune, Mayor of Chateauneuf-du-Pape decrees:
Article 1. — The overflight, the landing and the takeoff of aircraft known as flying saucers or flying cigars, whatever their nationality is, are prohibited on the territory of the community.
Article 2. — Any aircraft, known as flying saucer or flying cigar, which should land on the territory of the community will be immediately held in custody.
Article 3. — The forest officer and the city policeman are in charge, each one in what relates to him, of the execution of this decree.
Le Clos du Frac is a vine-growing parcel in the gardens of the Frac Alsace. This project was inspired by the vine-growing tradition of Alsace and the powerful economic factor represented by wines and vines in Alsace. In Alsace, Le Clos du Frac tries to reproduce a vine parcel from the Bordeaux region, and in particular from Mouton-Rothschild in Pauillac. By using caber- net sauvignon, cabernet franc, petit verdot and merlot varie- ties, Nicolas Boulard reproduces the standard model of the Bordeaux vineyard. The gesture of moving a Bordeaux vineyard to Alsace is not without meaning, because the entire history of wine is a history of grape varieties being moved, and travelling.
On 7 October 2006, at the invitation of the Association des Amis du Frac Champagne-Ardenne, Nicolas Boulard organized a grape harvest with a view to producing the Grand Vin de Reims. This latter is the fruit of harvests made on all the “parcels” in the City of Rheims which, ironically, is not included in the Appellation d’Origine Contrôlée zone for champagne. The grapes were thus ‘picked’ in supermarkets and shopping malls, at various groceries, and even from decorative vines in greater Rheims, thus incorporating the city as a wine- produ- cing territory. These places are listed on the map accompa- nying this box of two half bottles.
A crop circle or crop formation is a pattern created by flattening a crop, usually a cereal.
Each tube of this artwork is filled with a transparent alcohol (vodka, schnapps, gin, mezcal…) so it’s becoming an invisible monochrom.
For « Grands Crus de Grand Cru », Nicolas Boulard applied a modus operandi of an implacable logic and yet sacrilege for the world of wine, by mixing together, following a combinatorial fashion, 50 wines « Grand Cru » from Alsace to create what should be the ultimate wine. The wines were selected during the residence « Critique du Raisin Pur« at the Frac Alsace.
The Domaine de la Romanée-Conti (DRC) is one of the most prestigious wine producers in Burgundy. It also produces one of the world’s most expensive wines. In 1945, because of phylloxera, the estate pulled up its vines and replant- ed its vineyards in 1947: so there was no 1946 vintage. With DRC 1946, Nicolas Boulard, like an expert forger, proposed in 2007 a phoney vintage (with water and colorant) which the Domaine de la Romanée-Conti could never have produced, thus sowing doubt among lovers of this great wine.
The Subtly Woody Colour Chart is the result of blending 100% Chardonnay wine and different quantities of oak cubes which are piled up on the basis of the Fibonacci mathematical sequence.
In 1953, the artist Robert Rauschenberg asked the painter Willem de Kooning to give him one of his drawings so that he could erase it. Willem de Kooning agreed and gave Rauschenberg one of his most beautiful drawings. The erased drawing is now framed and titled Erased de Kooning Drawing. Nicolas Boulard renews this procedure but replaces the drawing with a white Bouzeron wine given to him by Aubert de Villaine, co-manager of the Domaine de la Romanée-Conti. The wine put under glass and exposed to light will oxidize over time, and change from an almost transparent hue to a dark and opaque colour.
Nicolas Boulard has produced an assemblage of Chardonnay and Pinot Noir which, in a scholarly variation of proportions, declining different shades of color from white wine to red wine. Between figuration and abstraction, this work maintains a subtle relationship to the idea of fragmentation of the image.
A blend of a Spanish Ossian wine from the Castilla y Leon region and a Cloudy Bay New Zealand wine from the Marlbo- rough region, this 244 cm long work borrows the proportions of Dan Flavin’s very first neon work, The Diagonal of Perso- nal Ecstasy. This diagonal is the segment of a straight line 19,887 km in length separating the two antipodean points of the two Spanish and New Zealand vineyards.
A Chemical Primary Picture apparently reproduces one of the first neon works produced by Dan Flavin. The tubes contain different more or less harmful products which are part of the composition of wine – powdered sulphate, liquid plant-care products, bisulphite, sulphur, colorant, sugar and a little wine – which cause the eye to become lost in the illusion of the original work”.
The « Cuve Mélancolique » is inspired from the truncated cube which features in the print by Albrecht Dürer, Melancolia I, 1514. The form is also akin to certain Minimal art works. In Dürer’s print, the cube refers to the beginnings of perspective and the abil- ity to measure spatial reality. In Minim- al art, sculpture refers to the function of the art object and its forms of exis- tence. The Minimal work of art also refers to the space in which the work is accommodated.
The word “form” and the French word for cheese, “fromage” come from the same etymological family, just as the forms of cheeses and the recurrent forms in Minimal Art (circle, square, pyramid) are similar. Starting from this fact, 12 cheese moulds were made based on Sol LeWitt drawings: Forms Derived from a Cube (1982).
“The essential quality of geometric forms comes from the fact that they are not organic, unlike every other so-called art form.”
Donald Judd, interview with Lucy Lippard, 1967.
43 wooden shapes having the precise dimensions of the 43 french AOC cheeses composed this installation presented on a circular pedestal.
Blending of 2 wines strictly opposed geographically on the french territory : Alsace Riesling blended with a Irouleguy from the Pays Basque region.
Like a snook cocked at the industrialization of wine, H2O uses chemical procedures from the oenological industry applied to water (water, sugar, chem- ical yeasts and fermentation activat- ors). This water is 11 % proof /vol.