Christian Bonnefoi

Christian Bonnefoi is student. Hefollows Hubert Damisch's lessons at the School of the High Studies. He reads the philosophers, the sociologists, Roland Barthes. As he could not there any more, he stops the reading and the studies. He begins painting and realizing collages. It gives very fast an abstraction in search of its energy, of its dynamism, of its process. It also gives a paint(painting) which owes to the collage, to the assembly, but always in break a lot. Today, the Center Georges Pompidou in Paris proposes a review of his work.

Since its first works in year 1970 c is unmistakably the collage (an evolution of the work Cubist on the space of the picture(board): the picture as the surface which was of use as intellectual organization to the work of Bonnefoi. The conceived and practical collage literally : This invention of the Cubists supposed a definition of the surface as the set(group) or composition of plan differently directed and defined each by a mode of chromatic intensity; c is indeed the other thing(matter) than the geometrical puzzle: an invention of the space which results from a folding of the surface; a reinvention of the surface of the picture(board) resulting from the connection and from the superimposing(overlapping) of autonomous surfaces. The picture is the involvement of tensions enters incompatible relative that are faces(figures) geometrical and the degrees of chromatic intensity; colors define themselves practically optiquement ) by specific modes of expansion (analogically) by durations of typified musical). The elaboration of solution of balance of these two orders practically drew one big part(party) of the aesthetic field of works so diverse and so inaugural as that of Mondrian, Albers, Rothko Extrait of the book of Jean Louis Shefer " Dialogue of the feather and the brush "

Christian Bonnefoi Exposition appearance of the visible from October 22nd, 2008 till January 5th, 2009 Paris Cenre Pompidou

Philibert Charrin art collage

PHILIBERT-CHARRIN (1920 - 2007) Figure uncontested of the art of joining during 50 years, it carries out “painting-joinings” starting from materials, pieces of paper, most various of fabric or partitions, old subway tickets etc… Pierre Brisset in the revie the Eye in December 1985 wrote: ”… Regarded since too a long time as minor art, and even a diversion for (poor) surrealist delayed which is satisfied to replace the head of the Mona Lisa by that of a rhinoceros or to finish in tail of the Venus body of the titien, joining finds with Charrin its true identity. Philippe Charrin is not only a one creator full with imagination and sensitivity, but still a painter authenticates who, even without lesecours brush manages, as Jean-François chabrun wrote it at one time, “to translate” the values of the true painting”

Art collage with Georges Braque

Inventor of the cubism, George Braque (Argenteuil 1882-Paris 1963) is an outstanding figure of painting in France from which it sticks to the wire of his work to renew the Chick tradition with Chardin, Corot and especially Cézanne. With Picasso he invented joining cubist. Many exposures were devoted to him but it is the first time that the landscape - of Estaque with Varengeville- is the subject of an exposure and a book. It is the occasion to specify the course of Directs in its personal reading of works of Cézanne, and to follow the adventure through the landscape of that which one agrees to saying that it knew to learn and carry towards other prospects the lessons for the Master of Aix celebrated in this year the centenary for its disappearance. The exposure and the catalogue try to highlight how much the landscape was a factor of development at key times in the course of Directs. The single experiments of the fauvism and the cubism constitute as many constructive stages between Antwerp, Estaque, Ciotat, Céret, the Guyon Rock or Career-Saint-Denis, before the landscapes of its youth, Dieppe and Varengeville, return since 1928, to haunt its mental space, the sober, sensitive universe and recluse of its last years: The texts of Éric Darragon, Claude Frontisi, Alvine Martin, Theodore Reff and Veronique Serrano contribute to widen and specify the knowledge of the work of this essential artist.

From 1912, Brauque brings in within its paintings these signs images at once( at the same time) color and materials, " machine to see ", to resume the expression of paulhan.

" J have fai to enter the sculpture the painting; that was my first stuck papers. Aveceux, the color returned to me of a cop, I, ' more had to force. The fight was there always, but it took place without me, on the painting.

Rodtchenko Alexandre 1851 1956

One of the most versatile artists of Russia for years 1922 1924 and leader of the Russian avant. He was a painter and graphic artist. He designed posters for the film, for stores factories. In correlation with posters and models book Rodtchenko interest between 1922 and 1924 in collage. He said the painting easel obsolete and turns to technology, and especially photography. He spent the rest of his life to develop with Lissitsky photomontage, whose precursor was Heartfield. It tries to give his collages in a visual equivalent of my poetry of Mayakovsky and the result will be an altogether synthetic original photomontage and placing no scene. He developed a constructivist art. At the time of the Revolution of 1917 he hosted the Federation of the Union of Painters and works for the EWL magazine in which he holds the coverage.
His work is complemented by many formal research, combining painting, gluing or typography.

In 1928, the magazine Sovetskoïe foto batteries Rodtchenko too inspired by the Western research (including the Bauhaus and therefore Moholy - Nagy. This is the beginning of a long controversy about it, which would cost him a lot of energy to defending his photographic work.

Arman art assembly and "new realiste"

The creativity of Arman does not know borders. Each one of its works is the occasion to approach the daily newspaper under an innovative angle and incites us to reflect on the gasoline-even of art. The series Nec mergitur (it will not run), gone back to 1998, is halfway between painting and volume. Arman gives up accumulations and turns its attention on the object as an entity to immerse it in the matter. The use of dull colors expresses its incomprehension in front of the devastation of the oil slicks. Marcelin Pleynet recalls the singular and exemplary course of an artist who knew to preserve his freedom while releasing painting. Because Arman is a painter above all. Its works rest on a poetic resonance and a fertile intelligence. They testify to a meeting between the sensitivity of the creator and the great events of our century. In its discussion with Tita Reut, Arman entrusts the keys of Nec mergitur to us. Of this work, it was drawn 250 specimens numbered from 1 to 225, 15 specimens H.C., 10 specimens E.A., accompanied for chacuns by the “shipwreck by a glove”, which constitute the de luxe edition. The painter realizes whereas all the objects can replace its brushes: It is the time of the Paces of objects which it exposes in Milan in 1959, and on which J. Brisso carries out a film with a music of Pierre Scheaffer. Objects such as a ball of glass, springs of mattress, rollers etc… are impregnated pigments coloured and put moving on the fabric where they leave traces. Sometimes, it violently projects these objects on the fabric: They are then Angers of Objects, (exposure in Milan in 1960), or Angers of Arman. They fall in the form from violoncello or coffee mill, on a wood panel, like a dislocated body precipitated of the sixth stage on the paving stone of a court. But Arman wants any neither with the music nor with anybody. If it preserves the corpse and exposes it like such, it is so that its invaluable gesture is not lost. In 1959, Arman achieves its great gesture by adapting the “Dustbins”, for what they are by oneself and by putting them in bulk. It realizes also strange capacity of the Accumulation of the same object in a tank.

Jean Arp

Born in Strasbourg in 1886, from an Alsatian mother and a German father, Jean Arp spends the first twenty years of his life between Strasbourg and Weggis beside Lucerne, intersected with stays in Paris, Weimar and Berlin. He maintains very early intense contacts with the artists who seek to free themselves from the traditional forms of art. In 1910, it melts with his friend Walter Helbig “DER Modern Bund”. In 1912, it meets Kandinsky. “Its workshop, word, form and color amalgamated themselves and transformed themselves into worlds fabulous, amazing, ever seen”. Arp collaborates in the Almanac of Blaue Reiter and exposes with Delaunay, the Falconer, Franz Marc and Paul Klee. Neither painting nor sculpture, the few eight hundred reliefs which Arp produced, cofounder of the movement hobby-horse, were generated by him “according to laws of fate's”, like nature plastician, fluid and ductile, gives birth to its forms indefinitely. Breaking by the denial of humour with the ascending romantic one of surrealist, Arp releases here the unconscious one of its too pressing and too literary oneiric load. Instead of proceeding to the setting at the day of images resulting from obscure forces, and although being declared inspired by the major sources of the natural genesis, this poetic cosmology has initially as a function to produce, in a purging of imaginary, anti-direction (Gegensinn): the paramount one in on this side same of any primitivism. The unconscious one becomes concrete among us, objectified per as many “fetishes” to material and cutting Nets and polished. Very other then is the philosophy of the dream, a future opens to the sleeper who, with his half-sleep, on the edge of his alarm clock, surrounds himself by images become small concretions, “fruits of unconscious”, according to a onirism laid out in orchard of a new life.

Art collage with Georges Braque

Inventor of the cubism, George Braque (Argenteuil 1882-Paris 1963) is an outstanding figure of painting in France from which it sticks to the wire of his work to renew the Chick tradition with Chardin, Corot and especially Cézanne. With Picasso he invented joining cubist. Many exposures were devoted to him but it is the first time that the landscape - of Estaque with Varengeville- is the subject of an exposure and a book. It is the occasion to specify the course of Directs in its personal reading of works of Cézanne, and to follow the adventure through the landscape of that which one agrees to saying that it knew to learn and carry towards other prospects the lessons for the Master of Aix celebrated in this year the centenary for its disappearance. The exposure and the catalogue try to highlight how much the landscape was a factor of development at key times in the course of Directs. The single experiments of the fauvism and the cubism constitute as many constructive stages between Antwerp, Estaque, Ciotat, Céret, the Guyon Rock or Career-Saint-Denis, before the landscapes of its youth, Dieppe and Varengeville, return since 1928, to haunt its mental space, the sober, sensitive universe and recluse of its last years: The texts of Éric Darragon, Claude Frontisi, Alvine Martin, Theodore Reff and Veronique Serrano contribute to widen and specify the knowledge of the work of this essential artist.

From 1912, Brauque brings in within its paintings these signs images at once( at the same time) color and materials, " machine to see ", to resume the expression of paulhan.

" J have fai to enter the sculpture the painting; that was my first stuck papers. Aveceux, the color returned to me of a cop, I, ' more had to force. The fight was there always, but it took place without me, on the painting.

Transfer with the transcryl "Lefranc and Bourgeois"

This product allows to transfer it by transfer, an image beforehand printed on not ice-cold paper.
The base of the transfer: photocopies black and white or colors and printed images.
Thinner: water Support of the transfer: any support smooth, raw or already painted in the oil or in the acrylic. Avoid inabsorbants supports or fat.
Cleaning of the material : in the soapy water.

Note: avoid the transfer of postcards, as well as the impressions(printings) having received a varnish defender.

Stage 1: application of Transcryl: protect your work plan with a plastic sheet or from some oilcloth. Apply the transcryl in a layer to the cut paper, embellish with images pre-printed matter to be transferred. Make extend beyond the layer of transcryl of a centimeter everything around the image to be transferred. Let dry 20 minutes. Then, apply the second layer, by crossingit with regard to the first one. Begin again this operation once again, always by crossing layers. Indeed let dry between every layer from 15 till 20 minutes.

Stage 2: after 24 hours of drying: cut by taking a margin 0.5 cms wide everything around the printing so plasticized.
Immerse the paper in the tepid water approximately from 20 till 30 minutes, to facilitate the unsticking of the transfer.

Stage 3: remove the typing paper: peel the paper in the back of the printing, in the rolling with fingers or by means of a sponge with back wet gratteur. Loosen(kick away) so the plastic film on which the image will be reproduced.

Stage 4: time(weather) of drying of the plastic film: spread the obtained tranfert plastic film on a very smooth surface and wipe(suffer) him(it) with an absorbing paper, let dry 6 hours.

Stage 5: apply a layer of transcryl to your support. Stick then your transfer and eliminate air bubbles with a hard roller, or finger. Let dry the object realize 24 hours.

Photoplastic art and photomontage

According to Moholy Nagy of subtle nuances between the techniques of photomontage and the photoplastic


The photoplastic art has the same origin as the photomontage the recording photographs.

The first photomontages consisted for example in collecting in a portrait of group of the persons who had not been able to photographed individually, Or to present persons in a particular decoration which n has nothing to do with the first recording.

It is as well as were thought the first photomontages. The Dadaists brought him a more precise and theoretical direction. The photomontages had objective to shock and to denounce, to protest, either to illustrate poems or to realize visual poems.

The photoplastic art is a more sophisticated process which combines the photomontage and the drawing or the track. The difference is perceptible in the technique It is a confusion organized in the sense of Moholy Nagy provided with an organizing center. The photoplastic art is clearer and more or less charged that the photomontage and rigorous. It has an educational and educational share more than the photomontage which suggests her ideas more vague as the poetry. It shows condensed situations, susceptible to start associations of ideas in an extraordinary speed. " According to Moholy Nagy

The photoplastic art can synthetize in an image of the effects of transparency running of our environment. For example the glance through the window of a bus, the reflections of the windows of the automobiles which are reflected in the shop windows of stores. In the photoplastic art these elements are not summarized but synthetized by overlapping and by merging. The effects must be immediately perceptible so that the image is productive. She has to allow a representation of ideas which corresponds to the spirit of the times and to the culture of moment.

The photoplastic art does not aim at the composition to affect an optical effect but a representation of idea.

The photoplastic art can serve to summarize a whole film or a play either an idea or a feeling but also has purposes of advertising and shows.

According to Moholy Nagy Peinture, photography, film Edition folio

Thomas Hisrchhorn

Thomas Hirschhorn develops an acute sense of collage mounting assembly and recovery. He uses cardboard, scotch, aluminium sheets and plays on the image of the network by intervening with a worthless material, which has a connotation, however, ecological and misérabiliste.Il already exists a strong tradition of the recovery in the Art in Switzerland as Frank Gehry and Jean Tinguely and Bernard Luginbühl. .
Thomas Hirschhorn appropriates elements used by the excluded, cartons, signs to assert its own message. In fact the work does not lie in the creation of an object or a painting, but in the invention of a method, a way of presenting works or questions. It develops and provides a metaphor for the network with its pipes paper twisted aluminium in particular. This is an original formulation of the report on the subject, artwork, it is no longer so many objects, but texts, which are real documents, directed, offered to the curiosity of the public in a gesture exposure baroque rhetoric.



Hirschhorn is working on the presentation, exhibition, presentation, the specificity of this language, it treats as an instrument rhetoric, as compared to other modes of expression. It can be finding sources and try many parallels: the Dadaist collage, but in this case the tradition of view, or the use of the model in some historical museums, model that can be found in architecture and in the Many artists in recent years. The main source is the practice of various excluded who know perfectly send messages using what they find to do so. A feature of the work Hirschhorn is still very outside in his presentation, he retains a great distance, is not involved personally in an expressionist.

In 2000 he won the Prix Marcel Duchamp "the winner after the jury showed a real maturity and a great sense of responsibility as an artist, and also that his work is a unique and a remarkable inventiveness. "

Arnulf Rainer

Arnulf Rainer was born in 1929 in Austria he becomes a painter famous at the world level for his abstract informal art. Rainer was triumphantly recognized on 1993 of the Museum Arnulf Raine in New York

We can speak about Rainer as a user of the photography as the material. He is more recognized for his works today in which he uses mixed techniques: leaving pre-existent images, such as photos, he recovers them of paint, so modifying the meaning of the initial image.

This pictorial process which Arnulf Rainer likes particularly consists in using mostly photography and reproductions of works of the other artists, which he recovers of " surillustrations " either " surpeintures " which obviously change the sense it or reveal in them a new, unexpected sense. For some years, the painter applies this process to diverse illustrations.

The artist overloads and blurs deliberately the photos of death masks of big men. Frédéric le Grand, Canova, Beethoven, Nietzsche), while maintaining their names in the titles of these works. The directory of the expressionism abstracts - projections of paint(painting), raturages, scratches …

Is so put in the service of an art by no means abstract and which has hardly affinity with the Austrian or German expressionism to which we assimilate him too often. Rather it would be necessary to speak about an art of the disfigurement.

It is so very known for its collection of naive art collected in a time(period) when this art interested only doctors psychiatrists.

Polke

The photographic practice at Sigmar Polke

To Poke a photograph is never finished No one can transform, to transfer him to other senses. Polke loves injuries in the shooting, development. C is the ratage, the accident errors, abuse of interest and highlights.

Major contemporary artist Sigmar Polke remains little known publicly french. Interrogate its photographic practices to measure the importance of experimentation dating from 1960.

Xavier Domino our present, not without humor, a wide range of protocols implemented and the results achieved. A description of the components of "Polkographie" follows a "non medium's land" where neighboring photographs and paintings; finally "Photopolkie" the photographic opens a thorough overview of the work, and its originality based on the crossing improbable of Pop Art and Post Modernism.

Pierre Cordier

The history of the photography is populated with a succession aware or unconscious. In 1956, Pierre Cordier invents a process which he will name chimigramme. Fifty years later, he continues to investigate the infinite resources of his process which combines the physics of the paint (varnished, wax, oil) and the chemistry of the photography (photosensitive emulsion, revelation, fixative spray); without camera, without enlarger and in full light.

The chimigramme which appears from then on as an intimate fusion of both techniques, always gives place to an interesting debate. The purpose of Ropemaker is to obtain an image which looks like nothing else than a chimigramme, an image free of any reference: neither paint(painting), nor photography, nor drawing in the computer.

The exhibition(exposure) " Pierre Cordier, Age fifty of the chimigramme " establishes(constitutes) the review the most important review of its work after that presented in Brussels in 1988 to the Museum of modern Art