Collage, assembly to the Tate Britain

A strange thing in the big French museums it has no department dedicated to artists' works there having worked on the collage(sticking). Rightly can be because the collage(sticking) assembly does not establish(constitute) an artistic movement, or be the object at the moment of a manifesto estimated by institutions or art history.

Picasso and Braque created the first Cubist collages in 1912. They incorporated printed material, such as newspaper or wallpaper, into their paintings and drawings, bringing new life to the play of illusion that was an important element of Cubism. These printed fragments were real objects that stood as images of themselves. In the same year, Picasso also started making three-dimensional assemblages of diverse ‘found’ materials, playing on a similar ambiguity between object and image.

The invention of collage, where art might be made out of everyday throwaway materials, has informed the course of much art of the last century. This display of British art of the last fifty years examines the continued relevance of this discovery for artistic practice. Constructed from rupture and discontinuity, collage offered artists and viewers a new way of seeing the world, bringing together disparate and sometimes contradictory elements to which often surprising meanings can immediately be given.
Often playful, this new way of understanding the world can also have a critical or polemical purpose. This is particularly true of the technique of photo-montage: collages constructed from photographs. This display traces the development of one aspect of the interchange between fine art and mass culture that still lies at the heart of contemporary art.
This display has been devised by curator Andrew Wilson

Psycho collage of jean-pierre Raynaud

Sell collage to the Fiac 2006

Jean-Pierre Raynaud will sell in Fiac 2006 a “psycho-joining” baptized Papier of mourning (1964) the prices will be in the range of 2000 to 3000 €. C is a true business if one compares with the red pots of 1967 which are between 8000 and 12000 €. D after R.A. in the edition of October 22, 2006 The sale of October 27 falls under same logic. “I cannot prevent anybody from thinking that it is a media or financial blow, the artist entrusts.
Financially, I do not see which is the interest to put on the market 80 parts. I am lucid, I know that that does not serve an artist to do it. I am based on the quality of works so that they protect me.” With its exposure of Mamac of Nice of March 25 to September 10, 206 to the exit of the exposure: A wall of brilliant joinings alternating the star blue of the Israeli flag with the humorous silhouette of the yellow duckling of celluloid which accompanies the children in their bath.
The police chief of the exposure are disconcerted can be the public also: “is it about a satirical criticism, of a brilliance methodical exercise of composition the made-to-order of serial cuttings of Matisse, of a call of the artist with the relaxation? There is yet no answer, it is the space of freedom of work in the course of gestation. ” Raynaud is also an assembler of object which in 1963 creates “psycho object” in the continuity of the movement of New realistic. See work Wall of the assemblies 1963, wall of the tilings of the red cross and the flags. For this reason it must make the topicality of this site.

Exhibition Palacios

Create transparencies by François Mocaër

This is the first time that our drafting meets an artist who uses the photograph not as object of representation but like an instrument allowing him to explore the different transparencies and handling creative The questioning here on the geometry, calculation and the transparency invite us to deep interrogations on what is reality.

The artist wrote itself on his step: “My tables are déconstructions of photography. It is not a question of adapting to the effects of paintings and of arranging them.

The representations on which I work cease being images which they were with the folding screen while using by using chemical and numerical processes” These processes precisely cause an effect of jamming and interbreeding which authorize to some extent the spectator to look at work as if it saw it in the mirror of his imaginary. It is important to include/understand what one wanted to express of large artists like Cézanne for example which, first represented forms structured by the light. It invented a technique which started a new perception. The chemical processes precisely allow this constant invention of the artistic approach which, in what relates to me, enables me to go beyond appearances.

It invented a technique which started a new perception. The chemical processes precisely allow this constant invention of the artistic approach which, in what relates to me, enables me to go beyond appearances.

Jean-Marie Palacios is an autodidact of the art which distant as well from the dogmas from figurative as of the abstraction, invites us to an essential question: Can one hope by handling the images to better include/understand than we think? C is the reason for which, it will be enthralling to return to you to this exposure which proves to us well that art remains an interior adventure.


François Mocaër

Tags and collage 2006

The last tag of the district, behind the food and on the road: “POWER VV”. I took it again on my site!!!!!! In front of the carpark between the 2 schools a display panel is planted. Many collages are carried out: leisures, assos, policy… the last of lo and the lcr (not with the dismissals, not with forced work) covered by Pascal obispo and his pestacle with the vinci with turns and arcenciel, collective of the assos against the incinerator in funny Touraine ......., not!!!!!!!!!!! The trève of Christmas makes quite sad the walls of the districts… they are replaced by the lights of the houses. A blazing année2004, of color on the walls, in the heads and the hearts imaginative slogans, political posters who go superimposed, torn. (7/01/04) A RAP V.V The centuries, time passed On this ground 10 people yvivaient With the vine, the grapes Ca was appropriate to them to gain their bread… Ground without manure A noble wine was born It is for that that ilsl' called NOBLE-JOUE Wine of then with CHEEK. (13/01/04) And then Z-the vines, the grapes tore off and cast concrete and breeze blocks Houses, turns, houses pushed like mushrooms The cars, the trucks do not make there stoppers! BUT IF YOU RETURN IN the COBWEB Do not be to you meadows to arise from the Valley! (14/01/04) REFRAIN “No history, not of past Always present at the valley With the valley violet One is well, it is owl Ala valley violet One had fun the festival there… “ Mélées exits, entries: In the south, straight, it is the green lung In the west, aprés the p' tit bridge of stone, it is Rabière For you goures over there the guy is not necessary Arab yesterday, today of France they is truths guy In north, with the estc' is less complicated It is the city, Chambray and Played. (15/01/04) In the north of the city, turns well ripolinées Make the entry of the district, de' the valley And then the social one has there The center, the hearth for those which burst the flagstone. Cannot pay their rents By the organized force are made expel No history, not of past that human stories Ya not that in the plain Ca also occurs to the valley (16/01/04) REFRAIN Nursery school, primary education, college all in fusion Education has a great proportion Is necessary well to fill the head of our crab-louses And to let them rest at the beautiful season Quickly is necessary to occupy bus in of sachet of it, in dosette The beuze, it circulates with the Valley Violet Beautiful cars with the drivers without name Their registrations show well The Valley is quiet ((a)) It is as in all the Pas cities brulées cars… of visited apartments It is as in all the districts People are welded by p' tit end and are patés People are welded of love and friendship refrain (16/01/04)
ttp://andreh.monsite.wanadoo.fr/index.jhtml

Molecular collage statics and dynamics

This very technical scientific article can interest, to amuse to see inspiring by the artists collagists.

Molecular collage is a technique of assembly of two materials which know an increasing use in micro-electronics and microtechnology. It is based on the spontaneous adhesion of deix surfaces A and B independently of their respective crystalline structures and when that Ci are sufficiently plane and not very rough. For example it makes it possible to assemble a monocrystal on another, thus creating with L interfaces a macroscopic grain boundary, or it makes it possible to deposit on an amorphous insulator such as silica, a monocrystal of silicon, which makes it possible to manufacture a substrate of the silicon type on insulator (ONESELF). By combining X-radiation and high energy and shaving incidence, we determined the differences in energy of adhesion for different interfaces from joinings. (Hydorphiles, Hydrophobic subjects) according to different the paremeter (Natural of matérieux, roughness, exposure plasma).

The surrealist movement and collage

Relation between surrealism and joining and the other movement


The surrealist movement was formed in the spirit of dispute of the Dadaism which is revealed during the war 14-18. Its official existence is registered in 1924 with the domination of the personality of Andre Breton. As the Dada movement its members denounce the nonsenses of the war and rationalism. At the beginning the movement of Andre Breton is of literary gasoline experimental but very quickly it is addressed to the visual arts. The experiments of Picasso and Braques on joining impassion them but especially they are fascinated not the frictions joinings of Max Ernst.
Its technique tallies with the philosophy of the movement which gives a very important role to unconscious and the reduction of the will of the artist. The movement is of course especially known by the step of its painters who were a time in his Miro mobility, Dali, Magritte, Man ray, Masson. The conflicts inside the movement reflect with evil the movement after the war and especially with died of Breton. But the ideas of the introduction of unconscious remain in the various artistic movements which followed. Surrealism thus deeply inspired American art: the practice of the automatism is for example one of the origins of the work of Jackson Pollock and the Painting Action, while the interest carried by the Surrealist ones with the topic of the object announces Pop Art (see collage and pot Art) and the New Realistic ones.

The sample musical collage

The sampling: It makes it possible to strongly colour the music and to affirm the sound. It is a sound collage.

The sampling is one of the outstanding elements of the music of end of XXème century. It makes it possible to strongly colour your music and to affirm your sound.

It is a sound COLLAGE. The system of Sample: The base of the system is platinizes it which is judicious to only play of the discs. Platinums form part D a unit which is used by the operator. This N is not only one mediation it is an instrument, a musical equipment production to which one limps at analogical rhythm numerical is added, the sampler and finally computer. Together of the technical device becomes an instrument. Ditget must exploit virtualities of them. It plays of platinums by exploiting virtualities which reveal disfonctionnement like the acid sound. To draw from the new sounds from limps at rhythm is as important as platinums. It is the diversion of a technological medium which produces new sounds. The operator it is that which passes the discs. With the origin it is a selector of disc for the radio or limps of night. The recordings on disc are the raw material. The operator plays and rejoue his collection of discs. He works starting from a filed memory or music of his own collection. He makes music with music. He passes from the discs starting from his musical memory v éritable exercise of déconstruction and virtuosity which is not art to make turn the tables but art to play of platinums. The operators between them compete of virtuosity and musical taste. He does not mix only music but speeches, radio transmissions, films, video games. The gesture of virtuoso also intervenes by the scratch, squealing of diamond on the disc when it manually is stopped the music. As Godard I make cinema with images and sound not with reality.
The electronic music art would be it an art of the quotation a méta music, a music on the music. What really occurs and mixing the sound atmospheres and colours in a musical nuancier. This N is not an art of the quotation which would work on the music. As joining in visual art the mixing and remix are not quotations of other works but the creation of a new plastic.
The remix can be compared with a use of the means as the scraping of posters of Villeglé or friction of max Ernst. Sample does not work on original works but on becoming to it matter of musical works. The musical remix are often indistinguishable compared to the originals to obtain a pure new musical surface from it. C is more one work of sculpture that of quotation.
The first interpretation metaphysical of the work of Didget and often made by the musicians them even by saying that the music is done thus all alone. the machine do nothing but capture and insert in a universal sound flow a rumour of street, music mirror of the process of nature already in work in the environment. Didget is as a producer who redistributes the musical signs. The one second interpretation would be a new production of analogy reports/ratios of the signs starting from new technical epic.