Age, Biography and Wiki

Jean-Luc Vilmouth was born on 5 March, 1952 in Creutzwald, France, is a French sculptor. Discover Jean-Luc Vilmouth's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 63 years old?

Popular As N/A
Occupation N/A
Age 63 years old
Zodiac Sign Pisces
Born 5 March 1952
Birthday 5 March
Birthplace Creutzwald, France
Date of death 17 December, 2015
Died Place Taipei, Taiwan
Nationality France

We recommend you to check the complete list of Famous People born on 5 March. He is a member of famous sculptor with the age 63 years old group.

Jean-Luc Vilmouth Height, Weight & Measurements

At 63 years old, Jean-Luc Vilmouth height not available right now. We will update Jean-Luc Vilmouth's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Jean-Luc Vilmouth Net Worth

His net worth has been growing significantly in 2023-2024. So, how much is Jean-Luc Vilmouth worth at the age of 63 years old? Jean-Luc Vilmouth’s income source is mostly from being a successful sculptor. He is from France. We have estimated Jean-Luc Vilmouth's net worth, money, salary, income, and assets.

Net Worth in 2024 $1 Million - $5 Million
Salary in 2024 Under Review
Net Worth in 2023 Pending
Salary in 2023 Under Review
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Source of Income sculptor

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Timeline

1952

Jean-Luc Vilmouth (5 March 1952 – 17 December 2015) was a French sculptor.

He was born on 5 March 1952 at Creutzwald and died on the 19 December 2015 in Taipei.

He taught at the École nationale supérieure des Beaux-Arts in Paris.

1970

Trained at the Fine Arts School in Metz, Vilmouth arrived in England in the 1970s where he immersed himself in the New English sculpture of Tony Cragg, Bill Woodrow and others.

If minimalism and conceptual art will influence his early works Vilmouth will quickly focus his researches around everyday objects.

Describing himself as "augmentateur" Jean-Luc Vilmouth seeks to supplement the object rather than transform it.

Far from formalist concerns, he chose objects for their potential, their memory: "what interests me in the objects that surround us, is their origin, their design ... I think that an object can enable us to understand include a whole social evolution... ". Through sculptures, installations, videos and performances, Vilmouth questioned the relationship to the object and its place in the environment.

Reporting the malfunctions of the world around him, he seeks to reinterpret everyday life to better challenge it.

By the principle of diversion and scaling, he transcends mere objects of everyday life, by increasing its meaning and by engaging the viewer as an actor.

Under the VIAPAC, Vilmouth installed a model of the Vauban Fort of Saint-Vincent-les-Forts on the access path to the site, facing the Fort.

Unlike the building that suffered the marks of time, the model is an exhaustive representation, to the image of the original architecture.

This device brings the visitor to perceive sculpture as the nucleus from which the fort was built.

This is both a reflection on architecture and a working memory inciting the public to mentally reconstruct the architecture of the fort by operating a back and forth between two scales of perception: that of the miniature model and that of the monumental building.

This was carried out for a public commission for the city of Strasbourg.

It is a flower kiosk functioning like a greenhouse and in which different kinds of syrups from various plants can be tasted.

As part of the redevelopment of the Weapons Manufacture of Châtellerault, Vilmouth created a work highlighting the site and its history.

It is as a kind of an architectural metal graft that transforms two huge fireplaces in observation towers.

18 meters high gateways installed on these chimneys are made accessible by the spiral staircase situated where the old water tower used to be.

On the Manufacture site stand two chimneys visible from most of the city.

"Inversing the situation is to allow the viewer to show, is to allow the viewer to climb chimneys to watch the city. "'

1987

1987: Local Time, le Magasin, centre national d’art contemporain, Grenoble (France)

1990

1990: Empreinte de Siam, in collaboration with la Manufacture nationale de Sèvres.

1991

1991: Lyon Biennale(France)

1994

1994: The winter of love, MoMA PS1, New-York (USA)

1999

1999: Autour de l'arbre, Chateau de Bionnay Morgane Rousseau, (France)

2000

2000: Elysian Fields, Centre national d'art et de culture Georges-Pompidou, Paris (France)

2004

2004: Code Unknown, Palais de Tokyo, Paris (France)

2005

2005: Les visiteurs, carte blanche to Jean-Luc Vilmouth, Château de Carcassonne (France)

2006

2006: The White Building, Galerie Anne Vidal, Paris

2007

2007: Villa du Parc, Centre d’Art contemporain, Anemasse (France)