Technical collage 3 : Various Adhesive

An adhesive, it is first of all a basic polymer which gives the cohesion of the unit. It is then the addition of elements intended to increase the sticking capacity, to increase the flexibility in certain cases.

Let us start with the structural adhesives

The concept of structural adhesive appeared when one started to carry out adhesive bonded joints being able to support constraints as important as the assemblies mechanic - welded. The adhesive bonded joint then has a resistance equivalent to that of materials constituting the structure.

The adhesive is integral part of the whole of the structure to the difference of the products of coatings or cements of sealing, from where the name of structural adhesives.

They are conceived to resist constraints higher than 7 MPA (it is not an insuperable border! …) at ambient temperature. They can be requested without failure with a high percentage of their maximum resistance for a long period, this under hostile conditions (low temperatures, heat, chemical agents,…).

POLYURETHANS

It is a very vast class of products of which some can be classified among the structural adhesives. They are then reactive polymers without solvents or with very high dry extract. They result from condensation between a monomer isocyanate and a monomer hydroxide or polyol. They are appeared as Bi-components but the evolution tends to support the development of the adhesives polyurethanes mono-components because of their simplicity of implementation. They have an excellent behaviour with peeling, with the tear. The polyurethanes Bi-components are regarded as a semi-structural adhesive. They are appropriate perfectly for the mixed assemblies plastic metal/. Certain manufacturers develop polyurethane mono-component ranges. These adhesives are presented under a pasty state then become after reticulation with the ambient moisture of the elastic masses.

The excellent properties of adherence of the polyurethanes found applications in the adhesives to means and high module in all the industrial branches of industry, in particular each time the assemblies are subjected to dilation, of the shocks or the consequent vibrations. They find many uses in fields as different as the means of transport, the shipbuilding, the electric components,… The polyurethanes are slower than epoxies but on the other hand they are much more flexible. Moreover one can stick them on practically all surfaces without using primary educations of adhesion. The latter are necessary only on Teflon,…, i.e. of the materials which are supposed incollables.

One of the large advantages of the polyurethanes currently on the market are that they stick glass without primary education. There is thus a use much simpler than with epoxy. On the other hand if one wants a rapid hardening one frequently uses mixed joinings: polyurethane and adhesive tape. One limits the use of the adhesive tapes because they are of a rather high cost. There are polyurethanes Bi-components. The latter have the advantage of showing higher mechanical characteristics but their implementation is much more complex. They are hard to spread out and the investments are heavy.

The manufacturers now develop mono-components with characteristics which tend to approach those of the Bi-components. One of the principal applications of the polyurethanes is the joining of glass. On the other hand they have a bad behaviour with UV. Many research is undertaken in order to reduce this problem (problem of the joining of avoid-break cars). Another application of these adhesives is the realization of groundsheet, of, assembly seals of elements of boats,… One exploits much the fact of the great flexibility of these adhesives. One speaks besides rather often about flexible joining for the polyurethanes mono-components.

The principal characteristics of the polyurethanes are :

- Important Elasticity and flexibility even at low temperature - Good adherence to the majority of materials - Good resistance to the ageing

- Resistance to the not diluted acids - Good behaviour with moisture - Behaviour at the average temperatures (80-90 °C)

- Hardening hot fast (mono-component) - Speed of reticulation from 3 to 5 MM per day for the mono-components - Implementation technical for the Bi-components

- Electrical insulator Property, property of sealing

- Absence of toxicity in the majority of the cases - Need for drying ovens for the mono-components - Shear strength less low than the other structural adhesives

- Very good Hardness At present, of the manufacturers polyurethanes mono-components market which do not have any more their principal defect i.e. slowness of polymerization. This new adhesive is obtained by the presence of an activator. One thus has the advantages of a polyurethane mono-component (ease of use) and those of Bi-components (speed of catch).

EPOXIES

They are the thermohardening adhesives among most current and most powerful. Their denomination comes from the presence of a characteristic grouping called epoxy grouping. The formulations are presented in the form of liquid or pasty products according to case's.

They are adhesives without solvents, mono or Bi-components. For the adhesives Bi-components, the mixture hardener basic resin is made at the time of joining, by respecting the quantities strictly. An exothermic reaction takes place then, allowing the reticulation. Generally, joining is made at ambient temperature but it can be accelerated by a contribution of heat. For the adhesives mono-components, the adhesive is ready with employment i.e. that the basic resin and the hardener cohabit without the reaction taking place. It is necessary to have a contribution of heat so that the reaction occurs.

The conditions of storage are important: the temperature should not exceed 20 to 30 °C, with the risk to cause a beginning of reaction. The epoxies are frequently used for joinings metal/metal or plastic metal/having to resist very high mechanical constraints. They offer a very good adhesion on the majority of materials and an excellent resistance to the ageing. For epoxies being able to tolerate high temperatures, one inserts ceramics particles.

The problem is then the handling time which reaches 24 H. research is centered on the behaviour in temperature of these adhesives like on the increasingly current realization of epoxy mono-component to high mechanical characteristic. One markets epoxies with rapid hardening, semi-rapid, normal. But resistance drops as the time of catch shortens. It is thus necessary to find a compromise between the requirements of speed of industrial realization and the behaviour of joining.

Let us quote like characteristics for the mono-components:

- Excellent resistance in temperature being able to go from -55 to +200 °C - Excellent shear strength: up to 40 MPa with 20°C - Excellent behaviour with the environments

- Excellent resistance to oils, solvents

- Storage with +4 or -18 °C - High Price - Harmfulness - Unflexibility

For the epoxies Bi-components, one can quote:

- Excellent resistance in temperature

- Excellent shear strength

- Good behaviour with the environments

- Good resistance to oils and solvents

- Possibility of reducing the duration of polymerization by increasing the temperature

- Storage at ambient temperature

ACRYLIC RESINS

There are several types of adhesives at acrylic base.

CYANOACRYLATES

In fact rather recent adhesives make rather important great strides because of some of their characteristics. The reaction is a simple reaction of polymerization of anion type, caused by the presence of a weak base on surface considered. At the beginning these adhesives were intended only for the joining of metals/rubber. Now, one also uses them for porous materials. The principal characteristics of these adhesives are:

- A speed of polymerization low in general but it strongly depends on the nature of the supports - Moisture is a good catalyst

- Polymerization takes place by compression of fine film of monomers - This polymerization takes place on a nonacid polar surface

- The mechanical resistances are high - Their resistance to solvents is good - They have a strong covering capacity

- Their behaviour at the temperature is low - The film is colourless In fact rather specific adhesives are in general intended for the precision tool industries. One uses them on small parts, for the joining of rubber seals,… They resist the shocks generally rather badly, at the temperature (100 °C).

But now certain manufacturers market cyanoacrylates which resist 150 °C, with sets of 0.25 mm, shocks, moisture. One thus eliminates the principal defects from this type of adhesive. One of the great advantages of these adhesives is to be able to adhere on famous surfaces incollables thanks to the use of primary educations of adhesion. One avoids thus on polypropylene, Teflon,…, of the surface treatments such as a plasma treatment followed by CORONA effects.

ANAEROBES

It is thermohardening adhesives for which polymerization can take place only in the absence of oxygen or of air. Metal surfaces have the property to catalyse the reaction but this one also requires the action of an activator or electromagnetic radiations such as the ultraviolet rays.

pplication of brake net to block the threaded assembly.

The principal characteristics are:

- Their time of weak catch

- An excellent shear strength but a very low tensile strength

- Their thermohardening character confers excellent characteristics according to the temperature to them. Some can hold up to 180 °C.

- Their chemical inertia is very good.

- They are unsuited to porous materials. Their fluidity is more or less important to supplement the plays. One uses them for the braking of nets, mechanical joining for the bearings.

The play must remain weak and lower than 0.25 Misters.

The principal parameters on the condition of uses of these adhesives are :

The nature of the substrates: metals are reactive to differing degree, the other materials require the use of the activators.

The play interfaces: the time of polymerization increases quickly with the play.

The choice of the product: with origin, various products can be equipped with different sensitivities to the anaerobic effect, with metals, even with radiation UV.

The cleanliness of surface: dirty surfaces delay polymerization and reduce the performances of the product. The surface treatments of ask for the use of more reactive products or a preparation of the activator. Activators: they are solvents containing of the active ingredients which remain on surfaces after evaporation. Their action is essential with certain adhesives or on nonreactive substrates.

ANAEROBES REACTIVABLES WITH UV

There is a reactivity for lack of oxygen and the presence of U.V.

This adhesive is used for the joining of glass on any support. Polymerization takes place into 20 S if there is a lamp UV, and of 24 H with the action of the sun.

This adhesive is important in optics, the construction of mirrors, decoration,…

They are very interesting since they have the same refractory index as glass. There is not thus a problem for industries of optics. It is possible to clean the surface which was exposed to the action of the air. This type of adhesive is used much in the sector of decoration.

ACRYLIC RESINS MODIFIED

There is, compared to the traditional acrylic resins, the appearance of a radical urethan.

This modification involves completely particular characteristics. Hardening is made possible by the addition of two different parts: an activator and adhesive.

The adhesive is consisted of the basic resin whereas the activator consists of peroxide. The principal characteristics of the acrylic resins modified are:

- A very fast catch, a few minutes for the catch in hand, a few hours for final resistance. - Adherence to badly prepared surfaces.

- A good behaviour at the temperature. - A very good shear strength. - The strength to the chemical agents and moisture is very honest.

- The thickness of the joint must be low. They are used for manufacture in chain because the time of catch is rather weak contrary to epoxies. On the other hand this type of adhesive cannot be used in all the cases of figure. For example the following assembly cannot be carried out with adhesive of an acrylic type modified. This type of joining is impossible to carry out with an acrylic resin modified. Indeed the adhesive is liquid whereas the activator is viscous. The adhesive is thus driven out at the time of the hafting. If the detail of joining observes, we have :

THERMOFUSIBLE THE ONES GOLD HOT-MELTS

At the beginning they were used for joining paperboard/paperboard and of Wood. One quickly realized that they were whitebait to stick much of other things drank. Their principal immediate advantage is the wrestling. In fact adhesive cuts the effect of having to Be heated in order to Be fluxed, the wrestling taking place with cooling. They cuts has problem: during the application one cold materials, there edge Be the formation of has thin to bush-hammer (glacis has) which prevents joining. They consist of has BASIC polymer, has resin and has wax to which one adds additive stabilizing gold plasticizing. The BASIC polymer is intended to give cohesion, the behaviour thermal At the temperature and stability while the waxes cuts the aim of controlling viscosity. The resin tacktifiante is intended to increase the hot sticking capacity. The BASIC polymers are primarily copolymers of ethylene such have the EVA. One also finds polyesters and polyamides. From to their rather easy handling and to their time of weak wrestling, thesis adhesive make rather fast great strides. One principal edge give the advantages of this adhesive: - Setting misses fast -100% of dry extracts from where has facility of handling - Adherence to many supports - Absence of solvents - Réactivable hot permanently - Facility of uses - Machines adapted to evolutionary spleens (folding camera machine-splicing units) Goal one the other hand there are some defects: - Insufficient Creep strength - Speed of sensitive solidification to the temperature of the support - Delicate Compromised between speed of time of wrestling and the time of opening - Sensitivity to heat At the beginning the BASIC component was the acrylic resin. At present drank, the manufacturers uses the thermofusible ones containing mono-component polyurethane. They are packed in hermetic cartridges and in solid form. There are the advantages of has traditional HOT-MELT. Joining is done by heating. Adhesive Then the plays the share of has traditional polyurethane. There is thus has polymerization. The advantage is that the behaviour is fixed. It will not move any more. Moreover the wrestling is fast. Adhesive It is year miracle drank its implementation is complex. Indeed, ounce the cartridge is open to use must uses it until the end. It is necessary to uses has special and expensive gun. One must moreover had has heater of cartridge. Finally the gun must Be imperatively cleaned with has special solvent after each uses. Yew not, the adhesive polymerizes and stops the gun. One thus has in maintenance and has material rather heavy and expensive.

ADHESIVES IN AQUEOUS DISPERSION

All the products of this family are adapted perfectly to answer a great number of industrial requests. Their use is advised where the products in phase solvent are prohibited. Indeed the adhesives in aqueous dispersion have the advantage of being much less toxic than an adhesive solvent and to be flammable in the liquid state (interest on the level of storage and implementation).

These products give excellent results on a great number of supports such wood, the plastics, the fabrics, etc As example, these adhesives are used today for the fabric fixing on wood in the manufacture of speakers like for the joining of wall linings in particular in public transport.

These products also are very much used in the manufacture of industrial filters, of light materials, like for the assembly of products of insulation. The adhesives in aqueous dispersion result in general from two technologies:

- The adhesives contacts: a double gluing is carried out, one waits the time of evaporation necessary and one posts the two surfaces pasted by maintaining the pressure

- Self-adhesive adhesives: After complete evaporation of solvent (in fact of water), these products remain self-adhesive very a long time. That gets a great flexibility on the level of the process of implementation of the product. A contribution of heat can decrease in a considerable way time of drying of the adhesive. The adhesives in aqueous dispersion have a rate of rather important dry extracts in general. One can often stick with one liter of adhesive in dispersion a surface much more important than with one liter of solvent adhesive. For the implementation of these products, one can apply them without problem to the brush, the roller or the gun. ADHESIVE TAPES One distinguishes several kinds of structural adhesive tapes: supported films, the not supported films époxys, and finally acrylic films. The supported films have been developed for several years but are used little. The structural films mono-components have characteristics higher than the traditional epoxy adhesives. The joints can reach more than 30 to 35 MPA in shearing and from approximately 12 to 13 N/MM in peeling. They make it possible to fill rather important plays. A contribution of heat is necessary to ensure a good polymerization. There are many applications of the adhesive tapes:

- Traditional Joining - Ribbons for the electrical engineering

- Ribbons of protection for plastic condensers - Ribbon of masking (gilding of the contacts of printed circuits) - Adhesive tapes of saving for the surface treatments

- Working Ribbons of assemblies and refermables

- Antiblocking industrial Adhesive tapes Foams and the transfers very high adhesion are acrylic adhesives comparable with adhesives doubles faces. There are various types of adhesive masses on the market: - Rubber

- Natural rubber - Synthetic rubber - Nonthermohardening Rubber - Thermohardening Rubber - Réticulé thermohardening Rubber

- Acrylic resin

- Thermohardening Acrylic resin

- Réticulée Acrylic resin

- Silicone

- Thermohardening Silicone The most effective adhesive is that containing acrylic resin. It is the only one which can be regarded as structural. This type of joining has been known for more than 20 years. At the beginning they were primarily epoxy resins, D-activables hot more pressing. For 15 years the most powerful ribbons have been containing acrylic resin. There is a support, foam, and the adhesive.

One can fill rather important defects with the thickness. On the other hand one realized that when one made work this type of assembly, there was risk of rupture on the level of foam. The manufacturers currently market adhesives containing acrylic resin pure. The problem of foam thus is avoided.

There is according to needs' a more or less great thickness for the ribbon. For the low thicknesses there is acrylic resin pure. On the other hand for the ribbons stronger thicknesses there is acrylic resin emulsified. These products are rather interesting bus in addition to exceptional performances with wrenching and with shearing, they have a viscoelastic memory.

One can thus stick two materials with different dilation coefficients. The ribbon lengthens but does not break. One can also quote aptitudes of impact resistance, vibrations, corrosion, of electric insulation,…

They are moreover ungluable. Like example of use, one can quote the manufacture of the electrical equipment boxes. In the past, one placed a reinforcement in the shape of omega. It was then necessary to weld it then to sandpaper it for the application of painting. Maintaining with the presence of ribbons with very high properties of adhesion, the operation of sandpapering is not effective any more. This saving of time was not possible that because the new ribbons resist strong temperatures. One can quote, for example, with range VHB from 3M: 250 °C during 4 H, 150 °C uninterrupted.

Research is currently centered on the development of ribbons supporting still better heat and with the mechanical characteristics definitely more powerful.

PRIMARY EDUCATIONS Of ADHESION: THEIR FUNCTIONS

ls consists of a resin and often of polyurethane. This is why they are manufactured by the industrialists of the adhesive. The function of the primary educations is very vast. They have been developed for a few years for quite particular employment. Let us quote for example: - Concrete Accelerator of the instantaneous adhesives - Preparation of surface - Degreasing of surfaces - Increase in adhesion on the plastics, glass - Agent of polymerization - Gelation of the visible adhesive - They are used also as barriers with plasticizers, the gasolines, etc

PRESENTATION OF SOME OTHER EXISTING ADHESIVES

The adhesives from the basic nature of polymer and that of the additives, represent a very vast family which it would be tiresome to detail. We will thus limit ourselves to a fast and brief presentation of the other adhesives.

EMULSIONS AND SOLUTIONS

They are adhesives in aqueous or organic medium whose hardening results from the evaporation of solvent or its absorption by one or the other of the substrates. The natural adhesives of vegetable origin do not use an organic solvent.

The adhesives obtained starting from resins

thermoplastics, of thermohardening elastomer adhesives even, can according to case's being obtained either in aqueous medium, or in solvent medium. $ The natural adhesives cannot be qualified the structural ones but they however are very much used in the industry of wood, paper, delivers,…

THE ADHESIVES CONTACTS

The setting in contact of surfaces to be assembled takes place only after the evaporation of solvents, the assembly requiring a pressure to weld two films of adhesive. The typical example is the Néoprène adhesive.

The postcard photography

The visual inventiveness of the postcard photo

The postcard invented in 1869 in Austria Hungary for short messages very quickly enriched an image, before becoming a factor for the dissemination of photography and then very quickly a photographic montage of support. The photography exhibition stamped testament to the mounting collage aspect of photography. Professionals and amateurs photographic techniques to make it their own encouraged by industrialists who put at their disposal the necessary equipment. The result is a whole iconography based on the collage made by assembling finds curiosities and fantasy. The exhibition reflected the recreational aspect and crazy images created, both in the treatment of the topic in procedures montages, and the epistolary nature of these objects communications and exchange. The mores of an entire era are disseminated through these postcards fantasies. To achieve these visual curiosities, photographers operating publishers have resorted to a variety of technical effects - montages, superimpositions, optical distortion, big plans, etc.. -- Well-known professionals, but rather the general public.

This extraordinary visual inventiveness, deployed by the industry of the postcard in the first decades of the twentieth century, the exhibition aims to show. Some are even photomontages Dadaists made directly on postcards and sent as such. Many artists from the 1920 and 1930 have a passion for these events early industrialization images.


They have inspired Hannah Höch, Hezbert Bayer Man Ray or taking them over or cite in their work, implementing strategies diversion and ownership - two concepts, avant-garde to the present day, have ceased 'Question the nature of art.

The visual inventiveness of the postcard photo
in the early twentieth century
from 04 March to 08 June 2008

exhibition was devoted to what had been a few years before the press or the book illustrated, the first to offer support to photography a mass dissemination of the postcard.

Joel Besse suspend time

Folding paper, acrylic and collage of Joel Besse by Fernand Founier Galerie Keller 13 rue Keller Pairs 11ème


Joel Besse is an artist of folds and pleats and complex geometric; It glue strips or small square of paper color. He was born in the work of gluing and folding of strange objects that could be attributed to sculptures. But Joel Besse were "modules" of the simple elements that make up the table with identical elements.

In the beginning, Joel Besse, there are these folds and pleats, often complex and almost always geometric animating small strips or squares of paper as to arouse themselves. The colour, posed as the case before or after folding, is involved in the adventure. Naissent so, this soft and yet so rebellious to the touch of the artist, strange objects. It could be seen as models for miniature sculptures, but for Joel Besse these are only "modules", the components are simple he needs to build his table and that he must first produce the same and mass production.

That is to say that the repetition of the same gesture and plastic patterns is the principle of the artist's work and brings the senses. It is not a process here shop, much less a sign of abandonment to an aesthetic in fashion. It serves a purpose in what Kandinsky called "inner necessity". This module, among others invented then rejected, will be repeated because a secret shake sensitivity will be warned about the artist and the impossibility of finding this module equate. The approach is based on the idea that only what felt to be unique and must be legitimately necessarily doomed to repeat. That is what has always shown great lyric poetry for which each term irreplaceable can only be repeated. Joel Besse is part of this tradition which makes the heart organ lovers of repetition. It is a lyrical visual and tactile. The module, which was selected derives its uniqueness inéchangeable unspeakable emotions which, born of a glimpse to know for a moment, were housed in perpetuity in the palm of his tricks. It is understood that the artist may want to replicate that this module in series. The first time was not enough. In the presence of this form winged while still a simmering lived that can be compared to anything, repetition is the only response can be maintained in this singular lived in his pen symbol. But in doing so it does not merely add a second and third time, not the first. It raises the first module of the series to the "nth" power, giving him and his inscrutable content, the aura of the sacred. In this respect, the repetition reverses. It is no longer simple summation. It becomes update sent late in the series (at least in theory) that has inexhaustible potential initial modulus. It is the one here now, which repeats in advance all those who will follow. It is thus fully in the order of the religious commemoration, where it is not the rituals that repeat the event founder, but the latter, which from the outset, repeat.

Also as a rite ever again, the modules deployed in long series in the fall workshop will they, with the truth that burns in them, a time motionless, and the origin of the eternal return on it own. L artist knows, who often comes to talk of a repetition as a moment of eternity where the mind can finally go in possession of himself.

But it is the picture that repeated itself truly body. The modules will find their destination. They are juxtaposed so as to fully cover the supporting surface. The choice of format neutral particularly as the square, said at the outset that the scope of the duplication could, notwithstanding the physical limits of the framework, extended to infinity. Now, under the eye, all modules exist outside of any requirement of succession in time, and according to which one would enjoy the position of the other model and the likeness of copies. All have become contemporary each other. Repetition is indeed here a moment of eternity. But it might also lose its purpose and deny itself in a repetitive and sterile assertion of a being in itself that would be in this case as to a Non-being. Table lacking that the absolute identity, would meanwhile, denied any tension.

Hence the need for repetition is possible to introduce it as a difference. Joel Besse is aware of this. The modules have a force capable plastic to create and maintain disorder, or better, the difference that although contrary to repeat is its vitality. First is the natural instability of the materials they are made of. It communicates to their folds, yet inhabited by the same thought, this vibration sensitive is inherent individuality. But there are also common configuration of the modules themselves, which is, paradoxically, a source of diversity. It imposes indeed to the artist logic combinations at the position of first modules on the plan, which has the effect of introducing these differences in order topology. Thus emerging before our eyes structures which, if they are to be repeated, however, give an impression of life abundant. Everything seems to become rhythms, one nested within the other, referring to the subtle games with a minimalist music.

The color is involved in this dialectic of repetition and difference to exalt lyricism. She cherishes all the tricks, but only in their most places available at the sight, as if it were necessary to preserve their share of shade and privacy, may be to make it contracted by more fascinating. In this sense, the color is the repetition. But it also opens the territory to be different, because it modulates the infinite perspective which we can enjoy on the folds of their multiple depths.

In the rustling who travelled countless tables of Joel Besse, mean, how basso continuo, the groaning alternative to the sea ever again.

Darren Smith Dorothy s Gallery

Collage photograpy Kaleidoscopes, broken mirrors, reflections on the water until Nov. 4, 2007


I have always been intrigued by things that alter my perspective on the world around me. I make my artistic style-making mosaics from photographs-to develop a highly personal way to transform reality.
Mosaîque Each is made by hand using glue and spray with dozens, sometimes hundreds, of my photographs. I take a lot of pictures of the same scene and creates a new composition with the printed: I cut into small pieces and then glue together. The various levels of my compositions to add a sculptural dimension. The shadows created produce a subtle effect of three dimensions.

My work transgresses the "truth" that we think that the photographers documenting. In user pieces of reality to create a new world, I built a bridge over the gulf between what is actually the world and what I want to be. The effect thus made to re-observe the world through a mirror broken with its edges broken, I can reshape reality. Traveling feed my passion and my job and a large part of my creations, composed of over one hundred pieces, representing places around the world.
All my mozaîque is made entirely by hand without digital manipulation of photographs. I only use materials for a long life: the photos are printed on archival paper, glue is specially designed for photographs and the media has no acid.

Dorothy's gallery
24, rue keller
75011 - PARIS
Métro Bastille

Giulio Paolini The unknown Author

Gallery Yvon Lambert and Nadie Goodmann between on December 14 and January 27 simultaneously with Pairs and New.

Giulio Paolini simultaneously exposes a retrospective-prospect in four places - the galleries Marian Goodman and Yvon Lambert, in Paris and New York. At Marian Goodman, Paris. Jean Paolini and joining, why not, insofar as it gathers elements to feed a step. But with this artist except standard collage is only.

But works of Jean Paolini presented at the Gallery Yvon Lambert and Nadie Goodmann between on December 14 and January 27 simultaneously in Pairs and New York expresses in particular a work on the prospect, obliteration, framing. It also exploits the square, the point and the vacuum. In the center of table convergence of the prospects is an empty place. The secrecy of work is hidden in the form, a set of mirrors and setting in abyss. Once more the meeting of the elements is expressed. While passing quickly in front of works one S very does not see many references to the painter Poussin and even less with one expression of a structuralism that criticisms a little quickly classified with the files of the history of philosophy. The work of Paolini which takes its origin in art Povéra. An erudite déconstruction which is integrated perfectly in the history of art.

Frame

Interposition of the object enters the sensitized paper and the source of light

The frame is a technique which reproduces a three-dimensional object by making acted the light on a photosensitive layer. In this photographic process the light causes the blackening of the photosensitive layer, except with L place where the object rests. It results an appearance of a white image from the object on a dark fon. First frames in XIXème century when the chemists experienced the photosensitivity of the emulsions spread out over a support.

The artists ventured in this new space to see the things taking an unknown aspect until there. The members known Dada group found very interesting that this work of reproduction introduced a new technique into art.
Thorough this technique while speaking about Rayogramme: it proposed at the time the following definition:

“Photography obtained by simple interposition of the object enters the sensitized paper and the source of light. Seized at the time of a visual detachment, for periods of emotional contact, these images are oxidations of residues fixed by the light and chemistry, of the living organisms.

Developed the techniques of the frame with a great virtuosity. By modulating the light and dematerializing truly the objects. It benefitted owing to the fact that the light erases almost the objects of the image in their giving a negative form. It reverses the form of the values like Talbot. It employs the word of “painting of light” to qualify these works realized with this technique.
The list of the important artists being interested in the frame is impressive.

One finds there
who completed 200 operations with this technique. , Robert Heinecken, Sigmar Polke have jointly to also use the frame during their artistic career. This last seeks and opens of new way everywhere the forms generated by shelf are likely to be transposed on a table.

See book the photographic one at Sigmar Polke.

Cyril Anguelidis to the Dorothy's gallery

Numéric painting

Formed by his wandering experiment of the urban life, Cyril Anguelidis is a plastics technician graphic designer, urban illustrator and numerical painter. He draws his inspiration in the middle of New York, Bombay or Paris in the energy of the large megalopoles. Its impressions are as many visions of a notebook of voyage in full change.

Exposition du 19 juillet au 30 Septembre 2008
Dorothy's Gallery

27 , rue Keller PARIS 11

“I think that a painter must reproduce the world which it observes, and I is registered in it. My tables thus evolve/move according to the company.”

The graphic work of Cyril Anguelidis depicts an urban world in full change where it extracts from the colors, matters, of the sloggans on the mode of “instantaneous and of the notebook of voyage.

One retains some strong images of them, successions of tack coats, phantom layers of images between graphics and painting.

Presidential: collage assembly and elections

The electoral poster and assembly.


He electoral poster is not a work of art it is often a photograph accompanied by a slogan but it remains also a collage assembly. I would present some posters here having these characteristics. The interest of this page is to gather joinings assemblies of this next éléction and later election. Through these different prériodes will be able one to detect some evolutions. L posts electoral in any case takes again strength with Internet or it is well on omnipresent on the sites of the candidates.

Collage and money

collage de Jan Christensen

A Norwegian artist Jan Christensen had the idea of a joining not very original makes some but expensive and conclusive. He covered a fabric with eight square meters of truths banknotes for an amount of 100.000 crowns or (12300 Euros) He gave like titrates in his table “relative value”. Well on this work exposed in a gallery (MGM Galleri in Oslo) the attention of the press retained. But also of not very scrupulous people who stole the fabric. Surely not for its artistic value but well for the composition of joining. The gallery does not say for how much the table was ensured and how much it had been sold with collectors. Ci below joining before and after the flight.

Magazine "vu" "see" and collage assembly

European house of photography presents the Magazine "vu" "see" publishing in the Thirties.

From November 2, 2006 to February 25, 2007 at the European House of photography, one presents a magazine of the Thirties. Not, do not believe that the House of the photograph was transformed into living room of joining so that it is the subject of a page on this site. `To look CONSIDERING'. It is an exposure where there is there is a profusion of joinings assemblies which the amateurs will appreciate.

The recourse to the image wants to be systematic and generous, in order to better achieve its goal the image is reinforced by a provocative title or an astute assembly. The goal is to show that the image, in our company, is often stronger than the words and to attract. The receipts of the magazine considering are always in force with regard to also joining assembly.

With Alexandre Liberman in 1932 the magazine fétichise the catch of sight of manner D of retaining qu of them a fraction in S inspiring of the dadaïstes. Page-setting makes visible the intentions and under heard. The setting in scene of the images takes precedence over the text. The assembly does not prove it calls a reaction and makes function imagination and the phantasms.

On plan of the photography of report the exposure before is very conceived so that each one can look at a profusion of images, without superficiality, and enter the development of a media system by having all the elements “under the eyes”.


Commissaire : Michel Frizot, directeur de recherche au CNRS, historien de la photographie et Cédric de Veigy, enseignant chercheur en photographie et cinéma.

Kevin Yu the Nymphéas

To reconcile geometrical art and lyric abstraction

What does it occur when one wants to reconcile geometrical art and lyric abstraction? What to wait of an artist who despizing borders mixes freedom with the gesture and the mathematical rigour? Can one paint while claiming himself at the same time of Pollock and Mondrian? Kevin Yu punctuates his fabrics of squares white or red and small photographs. The fabrics of its last exposure have as a title “Oils on fabric and joining 2006”. It connects the pure abstraction of painting and a certain reality of the image. It is what can make say that it connects two worlds inconcilable. By an English first name, imposed by the school, and a Chinese patronym, Yu Chen Feng says Kevin Yu, born in Taiwan in 1956, was already at the borders of two civilizations. On fabric or wood, it works in the thousand-year-old tradition of the superposition of the lacquers and the fulgurance of the gesture hundred times repeated until the perfection. Only one blow of brush and the silhouette is registered on the roller which is held at the time of the great ceremonies. The feature becomes landscape, breath and force contained. Raised in the tradition confucéenne, Kevin Yu does not escape the attraction from the Occident, it unloads in Paris in 1981 without knowing a word of French and discovers finally the masterpieces of the large Masters of which it knew only reproductions. It is grabbed by the city. It invents a work where on the filigree of a gestural painting the fragments of another world are grafted, photographic squares, windows of the future open on a reducing past where the memory dissolves in the fulgurating space of the moment.
There remains very insulated in a world where only exists painting where he distils year after year the emotions which crosses it. The contrast which it saw with the daily newspaper between Far East and France, it endeavours to integrate it in its pictorial universe, reflection of its internal conflicts in abstract fabrics by a juxtaposition of surfaces and matters where a universe is redefined. Successive layers, tumultuous sedimentations, cover the fabric in the full movement with gestural controlled by a geometry as rigorous as that of Mondrian where spaces are superimposed as in the fabrics of Cézanne whose it recognizes the influence explicitly.

Born in 1956 in Taiwan, Kevin Yu unloads in Paris without knowing a word of French, it speaks Chinese and knows a little English. This world, our world, it discovers it by the image, its place of predilection becomes Louvre where it is impregnated with all the traditional ones that it knew hitherto only by more or less good reproductions and some too rare exposures.

Kevin Yu punctuates his fabrics of squares white or red. Starting from a painting of the vacuum, it seeks the origin, creation, frangible joint; a connection between Chinese traditional painting and the modernism of the Western abstraction… of the bottom of its major blacks emerges a sky of ideas to cutting as subtle as the mountains of Guilin in against day of a raising sun. The pictorial world of Kevin Yu was always controlled by a paramount sign which moves the center of it, initially silhouette, then house. In its recent works the references to the mother and time multiply like if in its fabrics the dream of a reconciliation between here and elsewhere, the past and the present became finally reality. Kevin Yu perceives his pictorial work like a private diary, nonnarrative. He opens a new prospect with the spirit for geometry in lyricism selected for his fabrics.

Lélia Mordoch Décembre 1998

Mark Brusse Assembly and Collages (1976-2006)

From January 25, 2007, the gallery presents an exposure dedicated to Mark Brusse, joining together assemblies and joinings of 1976 to our days.

From January 25, 2007, the gallery presents an exposure dedicated to Mark Brusse, joining together assemblies and joinings of 1976 to our days. This work - nourished voyages and meetings, serenity impresses, often tinted humour - testifies to a vision of the readily poetic world. Its step is with the variation and the distance which it grants saves it because it preserves it. Offering, sacrifice, dumb conversation, quiet monologue… it is here a question of presence and interior. Philippe Piguet in catalogue Answer in question, 1992. Sculpture-assembly: Since 1961, installed definitively in Paris, Mark Brusse conceives the series of the Fences, Soft Machines and Strange Fruits, assemblies of objects out of wooden of recovery and various metals found in the street, which tell the history of elements met by chance and gathered according to the imagination of the artist to live a new life together. At that time, it attends the New Realistic ones joined together around Pierre Restany like his friends Robert Filliou and… From January 25, 2007, the gallery presents an exposure dedicated to Mark Brusse, joining together assemblies and joinings of 1976 to our days. This work - nourished voyages and meetings, serenity impresses, often tinted humour - testifies to a vision of the readily poetic world. Its step is with the variation and the distance which it grants saves it because it preserves it. Offering, sacrifice, dumb conversation, quiet monologue… it is here a question of presence and interior. Philippe Piguet in catalogue Answer in question, 1992. Sculpture-assembly: Since 1961, installed definitively in Paris, Mark Brusse conceives the series of the Fences, Soft Machines and Strange Fruits, assemblies of objects out of wooden of recovery and various metals found in the street, which tell the history of elements met by chance and gathered according to the imagination of the artist to live a new life together. At that time, it attends the New Realistic ones joined together around Pierre Restany like his friends Robert Filliou and Daniel Spoerri. 1965, two years stay in New York where, influenced by the minimalist spirit of the moment, his work takes a new dimension. The purification of the forms and the colors are necessary to the evolution of its language (series Natural Wood and Floor Pieces, geometrical parts out of wooden paints or not). It joins again with the Fluxus group known for its attachment with the character event-driven and transitory of work, which leads Brusse to take part in several happenings and especially to collaborate with the musician John Cage. These artistic experiments give him the taste of the “Environment”, i.e. installations adapted to space given, (Occupation of Space, volumes out of wooden which entirely fill the interior of the rooms, thus blocking the access, Kunsthalle of Bern in 1968). After a stay in Berlin at the beginning of the Seventies, Mark Brusse returns to Paris and settles with the Hive. It creates assemblies, small or large, some on base, others suspended, consisted of the most various materials: filament, node, cord which is used as discussion thread, one could almost speak about umbilical cord. However, one finds there especially wood. The selected titles are often poetic, mysterious, sometimes ironic. It is at that time that the Dutch shoe appears in its work (Puget Sound, 1976; Knot-Thing, 1987; I cuts has nail in my Shoe, 1976). Artist pérégrin, Mark Brusse traverses the animated world of an insatiable curiosity. The sculptures carried out these ten last years are impressed of this itinérance. They make a synthesis of all that the artist met on his road during previous years. Out of wood whitewashed gross of pure white, often of large size, they make a reflexion on the world and the life seen by the artist: the time which passes that it tries to retain, the rustle of the flight of the butterfly which it solidifies forever or the white feather of which it monopolizes lightness in the transparency of glass (The White Moment, 2001; The Shape of Silence, 2003). Joining: Although joining has played an important part in its work for several years, it is during a stay in Japan in 1983, that he knows his full blooming. According to the principle of recovery which it adopted as of its arrival in Paris, Mark Brusse seeks the elements of its joinings in the street. It ensures besides: I found them in the street, I found what at the bottom existed already in me. Its interest goes on bits of paper with Japanese writings which it sometimes associates objects, vestimentary elements, in particular of the gloves. The compositions are sober; they carry the mark of the tradition Zen because Asian civilization strongly influences work.

Collage Galerie Cadenas Bellanger

what glue do you use ? Collage to the Galerie Cadenas Bellanger

Exhibition of January 11 to February 10, 2007 Exposure suggested by Yves Brochard.

An exhibition proposed by Yves Borcard

"All books on Dada tells the story of Kurt Schwitters raking the streets of Hanover in search of butts and concert tickets used for his collages; The theory of basic Dada who wants that art can be made from anything equaled the basic theory punk selaon which everyone could make the art "

It is well on one of the reasons, but one would find well of them others, for which one regularly finds the term of joining in all the history of the XXème century. Cubism with aujourd' huii, while passing by dadaism, futurism, surrealism… until impossible to circumvent “the just what is that make todays' S different home so, so appealing?” of Richard Hamilton in 1956, there is some one of works impossible to circumvent and always terribly temporary by this idea of juxtaposition of images, of matters… of different sources and which, Re arranged create a new and always unexpected “situation”. In this introduction, one will surlignera the species of will have which surrounds from now on all these historical works, will have that already André Breton in “point of the day underlined” by evoking the years “which make jauniir the ends of newspapers whose very fresh ink did not contribute little to the insolence of splendid stuck papers of 1913” one will surlignera also the similarity of method in time kind “Tatlin At home” of Raoul Haussmann in 1920 and Richard Hmilton which forty years later, had established for its work of joinings a “programmmatic” kind of classification: man, woman, food, history, newspapers, cinema, instruments domestic, cars, spaces, comic strips, television, telephone, information. One will voluntarily not make distinction between joining, stuck paper, assembly, assembly. on the contrary, in its development, this project perhaps pointed other questions: which images, which porvenances, which construction? The title is not other than the first question put during an interview to one of these English artists who always worked joining: John Stezaker. The exposure on collage to the Workshop Cardenas Bellanger was built like a joining. Various people: artists, galerists, police chiefs… were invited to propose an axis and also names of artists for this project. One should thus see there various perceptions of the topicality but also techniques of what Jean clay called “this genuine explosive device” and which everywhere one murmurs great vitality today: “Yes, thirty years later I am always there with my scalpel, my pile of magazines and my tube of adhesive”.



(1) Greil Marcus "Lispstick traces" Allia Paris 1998

(2) Linder : Dream a little dream of me" Frog n° 4, Paris Automne / Hiver 2006