Ben Vautier, Niki De Saint Phalle, François Morellet, Louise Bourgeois, Alexandre Hollan, Claude Viallat, Sophie Calle, Bernard Pagès, Jean-Pierre Pincemin, Annette Messager, Gérard Titus-Carmel: 11 significant French artists of the final 40 years or so, tested within the gentle in their strong point and their rootedness, the specificities in their differing and from time to time overlapping plastic practices and the swirling and sometimes hugely hybridised conceptions entertained in regard to such practices. hence does research diversity from dialogue of the feisty, Fluxus-inspired, free-spirited funkiness of Ben Vautier’s paintings to a few of the modes of transcendence of trauma and haunting worry generated by way of the outstanding gestures of Niki de Saint Phalle and Louise Bourgeois, to the alyrical formalism but imbued with irony and ludicity of François Morellet, via to the serene intensities of Alexandre Hollan’s vies silencieuses, the countless a-signatures of Claude Viallat’s event within the sheer pleasure of a poiein of self-reflexive colour, the powerfully stylish and muscular disarticulations of Bernard Pagès’ sculpture, the good sweep via art’s historical past implied by means of Jean-Pierre Pincemin’s chameleon-like gestures, the big swirling programme of socio-psychological research the humanities of Annette Messager and Sophie Calle supply of their notably certain manners, the obsessively serialised oeuvre of Gérard Titus-Carmel permitting a burrowing deep into the opaque common sense of a true notwithstanding doubtful ‘presence to the world’.
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Extra info for Contemporary French Art 1: Eleven Studies. (Faux Titre) (v. 1)
JS1, ninety three) – that each one such works may well particularly simply be provided the identify of Vie silencieuse. Hollan’s paintings is surely obsessive, for it's affectively and existentially hugely inspired and targeted in its purpose. This, even though, with out orchestrating itself in accordance with a few ostensible precept of seriality or experimentation. The adoration and wonderment sooner than the issues of the genuine, matched by means of the unceasing impulse to provide oneself over to a doing, a making, that might in addition, enable entry to a real, or more true, adventure of presence, a deeper insertion of self into the secret of being – the sort of venture calls for persistence, the choice to attend, to stay ahead of, and with, the true, “to stay ahead of the tree, ahead of a fruit, sooner than gadgets” (JS1, 12), in an expectancy and a desire that search to reside inside shape with a view to recognize and reside the very alterity that buoys it up. the duty of last is but no longer finishable, for it engages with the ineffable, the silent, the onerous yet inexhaustible unspokenness of self-world presence. four Sameness here's yet an phantasm, for distinction and, in a feeling, never-ending deferral reign: the true – of the opposite and of the self – is changing into, ephemeral, vibrationally and energetically moving, and ultimate is that gesture that, instead of defying this, honours it, time and time back, dwelling, in-dwelling as Hopkins may perhaps say, the good judgment of its beingness. to stay, and convey beautiful remainders of one’s presence to presence comparable to the 1996 charcoal Olivier, Aubes d’été (cf. JS1, 35), the 2003 acrylic « Le Glorieux », grand chêne vert le soir (cf. JS2, 120), in any other case the 1994 watercolour and acrylic Vie silencieuse (cf. JS1, 108), is to go into the dynamic equation Hollan himself now and then alludes to, of selection and permitting, concerted motion and absorption, recognition, of the given. definitely Hollan consciously se4 This tensional play among exhaustedness and unfinishableness is a effective consider the poetics of Gérard Titus-Carmel, and, certainly, might be stated to force the engine of all robust inventive oeuvres. See additionally JS1, 34. modern French artwork 1 seventy one lects the place to put his cognizance. “A poorly selected topic, one badly approached, poisons and deforms me”, he unambiguously proclaims (JS1, 14). this is often so much quite the case with the natures mortes dedicated to items whose “relationships” he both “likes or seeks out” (JS1, 47). The stream in the direction of the opposite, the true, is hence significantly affinitary, psych(olog)ically charged, although it's maybe much less reasoned than instinctual, a decision impulsive, pulsional, but now not fairly surreally “convulsive”. The circulate might be perceived as “wild”, one among “attack” (cf. JS2, 59), yet leisure, calm are both required, one of those lightness of being really negating this attacking lunge with the intention to “allow shape to come”, to emerge. The stability is ok, considered one of “passive task” Hollan indicates in a 1997 be aware (JS2, 14), a sophisticated, doubtless ever self-adjusting harmonisation of wish, purpose, will to attach and interpenetrate, at the one hand, and, at the different, a gap of the self’s wakeful and subconscious eye to permit, to offer one’s assent to the unknown that “filters via” (JS, 44), color that “emerges from in every single place” (JS2, 108), being that's provided and can't be bullied or manhandled with impunity.