Many new artistic forms rest on the experiments of Man Ray which, after beginnings of draughtsmen advertising executive in New York, works since 1916 with Marcel Duchamp and will become one of the representatives of Dadaïste and surrealism.
For this reason it appears in this heading because it is regarded as the second inventor of the frame and that its work comprises many photomontage and joining (Boardwalk).
One can say that its work is the sensual expression poético thought of Marcel Duchamp. May Ray describes the invention of the frame like an action “automatic” unconscious, accomplished in darkroom, which connects its with the automatic writing of his/her surrealist colleagues Breton and Soupault. Its frames show completely ordinary, but transformed objects of appearance “so curious to observe to observe. He called already this photographic work of the rayographes.
Between 1920 and 1930, Man Ray makes party of the artists which presents a new type of photographs. The technical innovation leaves to the photographers a great freedom which the various artistic and literary currents irrigate. The photomontage open new ways, testify to the boiling and the abundance of research.
mardi 19 janvier 2010
Max Ernst
Max Ernst was a painter German (or Franco-German for some) of mobility hobby-horse, surrealist then pataphysic. Max Ernst was born in Brühl, in Germany. In 1909, it starts to study philosophy at the university of Bonn, but it quickly gives up the courses to be devoted to its interest for art. In 1913, it meets Guillaume Apollinaire and Robert Delaunay and share for Paris, joining in Montparnasse of the artists coming from the four corners of the sphere. In 1918, it wife Shines Straus, historian of art. Their tumultuous relation will not hold. The following year, it returns visit to Paul Klee and creates his first paintings, impressions with the hand and joinings; it tries out various supports and materials. During the First World War, it is useful in the German army. After this one, filled of new ideas, it melts with Jean Arp and the social activist Alfred Grunwald the hobby-horse group of Cologne but two years later, in 1922, it turns over to the community of artists of Montparnasse to Paris. Testing constantly, he invents in 1925 the friction where he lets run a lead of pencil to paper on a sheet posed on an unspecified surface (parquet floor or another texture). This technique reveals more or less imaginary figures. It is connected with the automatic writing of the surrealist writers whom it côtoyait like Paul Eluard and André Breton of course. The following year, it collaborates with Joan Miro on the designs for Sergei Diaghilev. With the assistance of Miro, max Ernst launches out in the development of a new technique, scraping where it scrapes the pigment of the fabric. In addition to
The collages of Max Ernst rubbings after the World article Philippe Dagen
Max Ernst in 1925 invented "frottage" where he scribbles with a pencil and paper on a sheet placed on any surfaces (parquet or other texture). It shows figures more or less imaginary. It is not without similitide with automatic writing surrealist writers like knowing that Paul Eluard and Andre Breton. With the help of other artist, Max Ernst engages in the development of a new technique, scratching where it scrapes the pigment of the canvas.
Ay castle near Piacenza, in 1933, Max Ernst in Italy for three weeks, in a castle near Piacenza, it assembles 182 collages,
The french illustrated plates from the late nineteenth century black and white are for him as a subject inexhaustible. Iil in preparing the publication of five volumes, published from April to September 1934 editions of the gallery Jeanne Bucher.
The title of this graphic novel is A week of goodness or seven elements capital.
It is divided into days of the week, each characterized by a passion and a different element - water, air. The most bizarre dreamlike give them free rein, through symbols.
'A week of kindness is one of the major creations of surrealism. But the consultation of the original collages, it is capable of measuring the degree of control that Ernst at the art installation. They were exposed in 1936, in Madrid, at the initiative of Paul Eluard. They are finally again at the Albertina Museum in Vienna, loaned by Isidore Ducasse Foundation of New York, which houses the collection of Daniel Filipacchi. Exhaustive, introducing even a few collages that has not accepted for publication, the exhibition is a model of its kind. It opens with a sequence that leaves explanatory dreamer. The collages are presented in the company boards in which Ernst cut a naked woman, a shipwrecked, a riverside or bourgeois interior. The subtlety with which he agency images, to slide into each other and the suture is such that the eye perceives a perfect unity where there heterogeneity. Hybridization, the overthrow upside down, the breaking of scale imperceptible raise scenes where the unreal seem natural. Ernst makes the fantastic not only credible but normal.
This world in black and white live in fear and rage. The disasters are frequent, crimes too. The murderers have heads beasts and birds. The heroines are alternately threatening and overwhelmed - and mostly barren. This column fantasies and anxieties fascinates so, leaving rooms, we are all surprised that men should have the lion mufles and that Viennoises did not walk naked.
At present Exhibition Max Ernst to the Orsay Museum from June 30th till September 13th, 2009
Max Ernst, Albertina, Albertina Platz 1, Vienna. Tel.: 00-43 - (0) 1-534830. From 10 am to 18 pm; Wednesday up to 21 hours. Until April 27. € 9.50 .
Philippe Dagen
The collages of Max Ernst rubbings after the World article Philippe Dagen
Max Ernst in 1925 invented "frottage" where he scribbles with a pencil and paper on a sheet placed on any surfaces (parquet or other texture). It shows figures more or less imaginary. It is not without similitide with automatic writing surrealist writers like knowing that Paul Eluard and Andre Breton. With the help of other artist, Max Ernst engages in the development of a new technique, scratching where it scrapes the pigment of the canvas.
Ay castle near Piacenza, in 1933, Max Ernst in Italy for three weeks, in a castle near Piacenza, it assembles 182 collages,
The french illustrated plates from the late nineteenth century black and white are for him as a subject inexhaustible. Iil in preparing the publication of five volumes, published from April to September 1934 editions of the gallery Jeanne Bucher.
The title of this graphic novel is A week of goodness or seven elements capital.
It is divided into days of the week, each characterized by a passion and a different element - water, air. The most bizarre dreamlike give them free rein, through symbols.
'A week of kindness is one of the major creations of surrealism. But the consultation of the original collages, it is capable of measuring the degree of control that Ernst at the art installation. They were exposed in 1936, in Madrid, at the initiative of Paul Eluard. They are finally again at the Albertina Museum in Vienna, loaned by Isidore Ducasse Foundation of New York, which houses the collection of Daniel Filipacchi. Exhaustive, introducing even a few collages that has not accepted for publication, the exhibition is a model of its kind. It opens with a sequence that leaves explanatory dreamer. The collages are presented in the company boards in which Ernst cut a naked woman, a shipwrecked, a riverside or bourgeois interior. The subtlety with which he agency images, to slide into each other and the suture is such that the eye perceives a perfect unity where there heterogeneity. Hybridization, the overthrow upside down, the breaking of scale imperceptible raise scenes where the unreal seem natural. Ernst makes the fantastic not only credible but normal.
This world in black and white live in fear and rage. The disasters are frequent, crimes too. The murderers have heads beasts and birds. The heroines are alternately threatening and overwhelmed - and mostly barren. This column fantasies and anxieties fascinates so, leaving rooms, we are all surprised that men should have the lion mufles and that Viennoises did not walk naked.
At present Exhibition Max Ernst to the Orsay Museum from June 30th till September 13th, 2009
Max Ernst, Albertina, Albertina Platz 1, Vienna. Tel.: 00-43 - (0) 1-534830. From 10 am to 18 pm; Wednesday up to 21 hours. Until April 27. € 9.50 .
Philippe Dagen
jeudi 7 janvier 2010
Numeric device
Numeric device
It is about a grid where are placed the shots of photos settled on graves of dead persons.
These images make share some seconds with these dead strangers quite a lot of time ago and a little forgotten. The past to look at these photos is deducted and carried(worn) in the knowledge of the regardeur.
It is a number of seconds which you passed with the photo of these strangers.
The past between the recording and the moment when you see photos is also deducted.
It is a time of the photography.
lundi 19 octobre 2009
Villegle Jacques
Jacques Mahé de La Villeglé, says Jacques Villeglé, was born to Quimper in 1926. Member(limb) of the Movement of the New Realists, he(it) presents a step(initiative) of "collector" of torn up posters and theorist of the appropriation. Jacques Villeglé studies the paint(painting) and the drawing to the art college of Rennes where he gets acquainted of Raymond Hains ( 1945 ), to whom will bind(connect) him(it) a definitive complicity.
He works a while at an architect, where he(it) gets acquainted with the questions of town planning and public space, before studying the architecture to the art college of Nantes (in January, 1947 - in December, 1949). From 1947, he begins to harvest to Saint-Malo the fragments of the Atlantic Wall and the twisted chains, at which he considers as sculptures.
From December, 1949, he limits his(its) appropriatif behavior to the only torn up posters. For him, the real artist is " lacérateur unknown person ", the collection which can be made by whoever: he so announces the moment of the disappearance of the face(figure) of the artist, giving up the place(square) to the "collector" or the collector.
Everybody knows the posters of advertising(publicity) juxtaposed in thick and half torn up coats(layers). By presenting them, the décollagiste Jacques villeglé shows the destruction of the communication by the media of mass. The exthétique presentation(display) of the waste of a modern metropolis becomes a symbolic revolt against the increasing marketing of the townscape.
His conception of the art, the most radical of the lacérateurs of posters. He fights vehemently the concept of the original and the artistic writing. Himself(itself) declare on this matter " I distance from the action(share) to paint and to stick. Is not the not premeditation an inexhaustible source(spring) of art, and even a ripe(mature) art for the museum ? I consider as positive what leaves behind him any passer-by who tore up a poster without the slightest artistic intention " Villeglé as artist is only proceeding then to the selection and protect the poster torn up by the destruction.
Moholy Nagy
Laszlo Moholy Nagy is of Hongroise origin. In, 1919 It settles in Berlin where it is interested in work of the constructivists especially that of Casimir Malevitch and El lissitsky. In 1923 it joined Bauhaus of Weimar.
Moholy Nagy is a general-purpose artist, he tries out the new techniques of photography and of the cinema he creates kinetic machines and mobile objects and well on joining, assembly. Joining Gis Noir Blue of 1920 in is an example. It considers the problem of the light in painting and on the effects of transparency of the colors which results from this. But joinings realized before remains of linear geometrical construction.
Theorist of the photographic medium he led experiences which have him permi to invent the photogram (See this against) and he drafted " peintrue, photography, film ". He shares with Alexandre Rodtchenko that the photography is an autonomous medium the means and the potentialities of which it is necessary to emphasize.
However her judgment on the pictorialisme is without appeal. In " New methods it photgraphie " 1928, it considers as obsolete these various formulations blurred by pictorial principles. The jamming of the pictorialisme is a confusion of essences of the paint and that of the photography.
With artists like Raoul Hausmann and the historian Franz Roh, it considers in the years 1920 the photomontage a major form of modern realism. In accordance with the déconstructions Dadaïses it allots a constructive role which reconciles free composition and strict imitation. effects characteristic of the modern art. The photomontage is a concept which becomes dominant at the time of the assembly. It controls aesthetic research under the influence of the realizers and theorists of the cinema.
According to Moholy Nagy these innovations in the artistic process encourage with “tranformer the photographic process of recording in a deliberated artistic activity” photography records appearances of the things, the artist photomontor “builds a new unit photographiqueà the assistance of photographs given or chosen” It is the distinction between photography and the photomontage. The stereotype is for the photographer a result C is on the contrary for the artists materials artistic to handle, cut out, stick, assemble, go up.
Moholy Nagy is a general-purpose artist, he tries out the new techniques of photography and of the cinema he creates kinetic machines and mobile objects and well on joining, assembly. Joining Gis Noir Blue of 1920 in is an example. It considers the problem of the light in painting and on the effects of transparency of the colors which results from this. But joinings realized before remains of linear geometrical construction.
Theorist of the photographic medium he led experiences which have him permi to invent the photogram (See this against) and he drafted " peintrue, photography, film ". He shares with Alexandre Rodtchenko that the photography is an autonomous medium the means and the potentialities of which it is necessary to emphasize.
However her judgment on the pictorialisme is without appeal. In " New methods it photgraphie " 1928, it considers as obsolete these various formulations blurred by pictorial principles. The jamming of the pictorialisme is a confusion of essences of the paint and that of the photography.
With artists like Raoul Hausmann and the historian Franz Roh, it considers in the years 1920 the photomontage a major form of modern realism. In accordance with the déconstructions Dadaïses it allots a constructive role which reconciles free composition and strict imitation. effects characteristic of the modern art. The photomontage is a concept which becomes dominant at the time of the assembly. It controls aesthetic research under the influence of the realizers and theorists of the cinema.
According to Moholy Nagy these innovations in the artistic process encourage with “tranformer the photographic process of recording in a deliberated artistic activity” photography records appearances of the things, the artist photomontor “builds a new unit photographiqueà the assistance of photographs given or chosen” It is the distinction between photography and the photomontage. The stereotype is for the photographer a result C is on the contrary for the artists materials artistic to handle, cut out, stick, assemble, go up.
Martha Rosler
Feminist committed and subversive, long regarded as an artist "underground". Martha Rosler explore, for more than three decades, the contrast between the power of men and women in American society. Using Photomontage, photography, performance, the singer analysis oppression to which women were subjected to domestic juxtaposing images, images of war and fragmented body in advertisements of public space.
It is one of the most influential artists of his generation and his work often requires the viewer to rethink the boundaries between public and private, social and political. During the Vietnam War, it produced Bringing the War Home: House Beautiful (1967-72), a series of assemblies photomontages from the pages of Life magazine, where new stories featuring images of the dead and injured shared column inches with glossy ads for consumer products.
In the late 1970 she found in photography a way to bury a radical modernism, and answer some questions about the Pop Art, Conceptual Art and the representation of the social. On the side of Pop Art Rosler learns to be assembled by gluing pictures of mass culture (magazines, advertisements etc.). Rather than working on the objects. As for his willingness to represent the social reality extra-artistique, inventing a new posture documentary is on the side of the history of photography that can be accomplished, between tradition américiane 1930s (Robert Frank , Weegee ...).
It is one of the most influential artists of his generation and his work often requires the viewer to rethink the boundaries between public and private, social and political. During the Vietnam War, it produced Bringing the War Home: House Beautiful (1967-72), a series of assemblies photomontages from the pages of Life magazine, where new stories featuring images of the dead and injured shared column inches with glossy ads for consumer products.
In the late 1970 she found in photography a way to bury a radical modernism, and answer some questions about the Pop Art, Conceptual Art and the representation of the social. On the side of Pop Art Rosler learns to be assembled by gluing pictures of mass culture (magazines, advertisements etc.). Rather than working on the objects. As for his willingness to represent the social reality extra-artistique, inventing a new posture documentary is on the side of the history of photography that can be accomplished, between tradition américiane 1930s (Robert Frank , Weegee ...).
Duchamp Marcel
One does not introduce either Marcel Duchamp L author of famous cubo-futuristic table Nu descending the staircase from 1913 and of “Ready Made” which shocks the world of the art which expresses its philosophy nihilist of anti-art, C is the wheel of bicycle fixed on a stool out of wooden (it is also an assembly) and carries it bottle and urinal exposed in 1917.
For Duchamp this N is not the manual realization of the artist who is important but only by the “choice” by the assertion of the artist that the work of art is worked out.
Duchamp carefully gathered the totality of these 83 works in the form of reproduction and counterpart S in miniature format in a red leather box.
Richard Hamilton, to marble John, Robert Rauschenberg while passing by Claes Oldenburg, artistic Objects, those of Pop Art and those of the conceptual art (whose Duchamp) anticipates art idéel with the Marie exposed step her single people, even: all owe their artistic approach with the theory and the art of Duchamp which opened this way.
Although Duchamp speaks itself by really about joining even only it does not share the heat Dadaïte with do-it-yourself and assembly by the practice of which the majority of the Dada artists want to dispute the production processs artistic not inventing a new manner of expressing the world.
The report of Duchamp with photography and the photomontage is related to general step which is the detachment. This last will suppose an operator other than itself Man Ray.
In 1921 appears the alter ego of Marcel Duchamp, his female double Rrose Sélavy. A photograph of Man Ray testifies to this innovation. There are at least two version of this photograph one is a photomontage where the arms and the hands of Germaine Everling were substituted for those of Duchamp. There is also an improved version. The same year Rrose Sélavy will appear thanks to a photomontage of Man Ray, she appears in a facsimile of a label for a bottle of perfume, with the initial reversed R.S.
The same photomontage, photographed again then reduced, once stuck on a bottle of perfume Stone, transforms the latter into Ready made assisted. It will be used in its turn again photographed to illustrate the cover of a magazine New York Dada in April 1921.
These various photomontages and joinings where a portrait, more or less improved, comes to crown a body which does not belong to him, are not without pointing out Cs open objets d'art, of the memory kind of “regiment”
The concern turns around the fourth dimension. the installation “the wheel of bicycle” is interpreted many the critic philosophical art, writer like Jean Clair like giving birth to a multiplicity with N dimensions a unit with N + 1 dimensions.
According to book of Clear Jean on Marcel Duchamp and end of art Galimard Edition
For Duchamp this N is not the manual realization of the artist who is important but only by the “choice” by the assertion of the artist that the work of art is worked out.
Duchamp carefully gathered the totality of these 83 works in the form of reproduction and counterpart S in miniature format in a red leather box.
Richard Hamilton, to marble John, Robert Rauschenberg while passing by Claes Oldenburg, artistic Objects, those of Pop Art and those of the conceptual art (whose Duchamp) anticipates art idéel with the Marie exposed step her single people, even: all owe their artistic approach with the theory and the art of Duchamp which opened this way.
Although Duchamp speaks itself by really about joining even only it does not share the heat Dadaïte with do-it-yourself and assembly by the practice of which the majority of the Dada artists want to dispute the production processs artistic not inventing a new manner of expressing the world.
The report of Duchamp with photography and the photomontage is related to general step which is the detachment. This last will suppose an operator other than itself Man Ray.
In 1921 appears the alter ego of Marcel Duchamp, his female double Rrose Sélavy. A photograph of Man Ray testifies to this innovation. There are at least two version of this photograph one is a photomontage where the arms and the hands of Germaine Everling were substituted for those of Duchamp. There is also an improved version. The same year Rrose Sélavy will appear thanks to a photomontage of Man Ray, she appears in a facsimile of a label for a bottle of perfume, with the initial reversed R.S.
The same photomontage, photographed again then reduced, once stuck on a bottle of perfume Stone, transforms the latter into Ready made assisted. It will be used in its turn again photographed to illustrate the cover of a magazine New York Dada in April 1921.
These various photomontages and joinings where a portrait, more or less improved, comes to crown a body which does not belong to him, are not without pointing out Cs open objets d'art, of the memory kind of “regiment”
The concern turns around the fourth dimension. the installation “the wheel of bicycle” is interpreted many the critic philosophical art, writer like Jean Clair like giving birth to a multiplicity with N dimensions a unit with N + 1 dimensions.
According to book of Clear Jean on Marcel Duchamp and end of art Galimard Edition
Mandeville Bernard
Bernard Mandeville was born in 1921 deceased in 2000. Mandeville with its abstract joinings prolongs the experiment cubist of stuck paper. The artist cuts out modules which end in imaginary architectures.
He prefers precious papers and geometric contours. The artist cut modules sober which he then carefully considering the organization, leading to imaginary architectures; Mandeville improves its experience Cubist pasted paper, leading to the figures of serenity
Lissitzsky
A constructivist of the avant-garde russe.1890-1941 Lissitzsky of 1909-1914. After having been a painter, an illustrator and an originator of the Soviet flags, it taught with Malevich with Vitebsk and the workshops of art in Moscow. It arrived to Berlin in 1921 and established exposures of art by the avant-garde post-revolutionist, also working as an author and an originator for the international stores. Its achievements acted like a campaign to forge bonds between the artists in Russia and in the west, between Stijl and constructivism of Weimar' S. Its own paintings of Proun, Proun being a acronyrn meaning for new art, express its vision of a world of the physique inspired by modern thought of spiritualist. They were produced while victory over the sun, which suggests the similar concern. Its work was designed to be a catalyst to encourage the general orientation to form a classless society. Its publications include the Kunstismen matrix, with Hans Arp, a number of magazine of Merz, with Schwitters, other books and independent contributions.
Le Roux François painting and techniques mixtes
Francois Roux is primarily a painter, his collages are glued paper painted by himself. "In the tables of François Le Roux, Groom, dolls, infantes, painters, models, workshop, birds, cats, trees and various objects, angels, hearts, moons, suns, airplanes, ships, skulls, masks, both living beings and inanimate transforming, moving, moving meet, entangle, Fit, soar, hug. The works François Roux are illuminated fables, legends bariolées, or as color-short ....." Gilbert Lascault
Francois Roux is primarily a painter, his collages are glued paper painted by himself. In his abstract works it multiplies drips, traces unclear lines lost modifying whole. The table is simultaneously complete and incomplete. Each works is an adventure, worse it offers the artist to new inventions, other quests. Thanks to alleged errors, a table can be built and he lives. It is, discards, is covered, then ressucite.
From book of Gilbert Lascault les Poèmes polychromes de François le Roux
Only in french
Schwitters Kurt
Kurt Schwitters (1887-1948) Excluded from the movement Hobby-horse Berlin, it reacts by melting Dada Hanover. This movement was founded on the apolitical one (thus with the antipodes of the designs of Berlin Hobby-horse, which was a politically engaged movement), the fantastic one and constructivism. Its principal pillars are the Merz review, and the art of the same name.
Merz is a reduction of the word Kommerz which we were able to read on a collage of year 1919. The word arose organically from the merzage of the picture(board), not accidentally, because in the artistic development nothing is accidental, what is logical. J named formerly this picture, according to its legible part, picture Merz. When looking for a generic name for my art, j understood that I created except the usual generic notions, I l named according to the most characteristic picture, the picture Merz. The notion Merz was untranslatable and thus susceptible to evolve in the management given by the picture Merz. By a logical overbid, I gave to the notion of Merz its current meaning and offered it to the community by means of the magazine Merz.
Merz write 1923
The process on which this art is founded is at the same time a major process of all the literary Hobby-horse as much as plastic: it is about joining. One found on his fabrics of the tickets of bus, the scraps of posters or newspapers, of the rags, the buttons, the pieces of fabrics, the stoppers, etc which constituted “harmonious” tables. Merz is besides the fragment of a paper where was writes the German word Kommerz, of Kommerz Bank. (Merz perhaps also translated into French by “trick”, “thing”, which characterizes these assemblies of various elements indeed…) L studied the painting of 1909 to 1914 with the Academy of Dresden. It took part in the review der Sturm of Berlin. Large friend of Hausmann and Arp, it founded a movement parallel with the Hobby-horse which it named Merz. From 1930 to 1948, it took refuge in Norway to flee the Nazism. It was pointed out by drawings with the pencil, the charcoal, the watercolour then joinings and assemblies since 1919. Refused to the Hobby-horse of Berlin by Huelsenbeck, it reacts and creates its Merzbild table in 1919. The word Merz being cut out since Kommerz in a printed advertisement. In 1923, it creates its work in Hanover, Merzbau, a whole of timber structures and plaster with cavities where is embedded its work and those of his/her friends. Destroyed in 1943, it partially rebuilt by Switzerland Harald Szeemann. After 1923, it binds with the constructivists Theo van Doesburg and Russian El Lissitsky. It carried out with them the Merz review appeared between 1923 and 1932. A power station of Merz publicity was creates and it launched the new advertisement for firms like Pelikan, Opel or Bahlsen. After the German invasion of Norway, it resided in 1946 at Ambleside in Westmoreland in England. In February 1995, the Beaubourg Center in Paris organized a Schwitters exposure. It published Anna Blume in 1919 and Ursonate in 1932.
When Schwitters died to Wesmoreland he was far from suspecting that one day he would contribute to make the fortune of the industrialists of the glue in the world. Hundreds of thousands of collagistes applied more or less talented, make collages conscientiously shown during hundreds of exhibitions(exposures) today which are applauded, analyzed and bought, with the aim of achieving a world célbrité. Schwitters was not able to attend his world success, he would have appreciated a lot.
Merz is a reduction of the word Kommerz which we were able to read on a collage of year 1919. The word arose organically from the merzage of the picture(board), not accidentally, because in the artistic development nothing is accidental, what is logical. J named formerly this picture, according to its legible part, picture Merz. When looking for a generic name for my art, j understood that I created except the usual generic notions, I l named according to the most characteristic picture, the picture Merz. The notion Merz was untranslatable and thus susceptible to evolve in the management given by the picture Merz. By a logical overbid, I gave to the notion of Merz its current meaning and offered it to the community by means of the magazine Merz.
Merz write 1923
The process on which this art is founded is at the same time a major process of all the literary Hobby-horse as much as plastic: it is about joining. One found on his fabrics of the tickets of bus, the scraps of posters or newspapers, of the rags, the buttons, the pieces of fabrics, the stoppers, etc which constituted “harmonious” tables. Merz is besides the fragment of a paper where was writes the German word Kommerz, of Kommerz Bank. (Merz perhaps also translated into French by “trick”, “thing”, which characterizes these assemblies of various elements indeed…) L studied the painting of 1909 to 1914 with the Academy of Dresden. It took part in the review der Sturm of Berlin. Large friend of Hausmann and Arp, it founded a movement parallel with the Hobby-horse which it named Merz. From 1930 to 1948, it took refuge in Norway to flee the Nazism. It was pointed out by drawings with the pencil, the charcoal, the watercolour then joinings and assemblies since 1919. Refused to the Hobby-horse of Berlin by Huelsenbeck, it reacts and creates its Merzbild table in 1919. The word Merz being cut out since Kommerz in a printed advertisement. In 1923, it creates its work in Hanover, Merzbau, a whole of timber structures and plaster with cavities where is embedded its work and those of his/her friends. Destroyed in 1943, it partially rebuilt by Switzerland Harald Szeemann. After 1923, it binds with the constructivists Theo van Doesburg and Russian El Lissitsky. It carried out with them the Merz review appeared between 1923 and 1932. A power station of Merz publicity was creates and it launched the new advertisement for firms like Pelikan, Opel or Bahlsen. After the German invasion of Norway, it resided in 1946 at Ambleside in Westmoreland in England. In February 1995, the Beaubourg Center in Paris organized a Schwitters exposure. It published Anna Blume in 1919 and Ursonate in 1932.
When Schwitters died to Wesmoreland he was far from suspecting that one day he would contribute to make the fortune of the industrialists of the glue in the world. Hundreds of thousands of collagistes applied more or less talented, make collages conscientiously shown during hundreds of exhibitions(exposures) today which are applauded, analyzed and bought, with the aim of achieving a world célbrité. Schwitters was not able to attend his world success, he would have appreciated a lot.
Stezaker John
John Stezaker been born in 1949 in Great Britain.
There are few documents on the course and the step of John Stezaker. He however exposed in the best Museum d contemporary art and his paintings faces in l permanent exhibition of the Tate gallery in London on the collage.
John Stezaker’s work re-examines the various relationships to the photographic image: as documentation of truth, purveyor of memory, and symbol of modern culture. In his collages, Stezaker appropriates images found in books, magazines, and postcards and uses them as ‘readymades’. Through his elegant juxtapositions, Stezaker adopts the content and contexts of the original images to convey his own witty and poignant meanings.
Coupling male and female identity into unified characters, Stezaker points to a disjointed harmony, where the irreconciliation of difference both complements and detracts from the whole. In his correlated images, personalities (and our idealisations of them) become ancillary and empty, rendered abject through their magnified flaws and struggle for visual dominance.
In using stylistic images from Hollywood’s golden era, Stezaker both temporally and conceptually engages with his interest in Surrealism. Placed in contemporary context, his portraits retain their aura of glamour, whilst simultaneously operating as exotic ‘artefacts’ of an obsolete culture. Similar to the photos of ‘primitivism’ published in George Bataille’s Documents, Stezaker’s portraits celebrate the grotesque, rendering the romance with modernism equally compelling and perverse.
They involve images taken by a myriad of sources and arranged in a grid representing transistors, as described by Anne Bartlett Ayres: "The image of radios and serves as a" base "is a collage receiver deities and demons , An issuer of talismans and secret codes: Hebrew letters, crosses of all kinds, locks, keys and doors; fragments of Greek and Eastern sculptures, photographs by contemporary religious leaders appeared in newspapers; naked women, portions of bodies, heaps of 'Stars; rifles and snakes and birds and roses and mushrooms.
In its brief and intense life Berman devoted this relentless pursuit of the unspoken and yet the "unscribed." in 1957, its first and only public exhibition at the Ferus Gallery, was closed by the LAPD and Berman was arrested for displaying what was then regarded as "pornography." As a result of the indignity to which he has undergone it withdraws from the scene of public art completely. Berman abandoned Los Angeles and moved to San Francisco, returning in 1963 to Topanga Canyon where he lived and worked until his death. Berman left Los Angeles and moved to San Francisco, back in 1963 in Topanga Canyon, where he lived and worked until his death in 1976.
According to Freedom of the Centre Pompidou exhibition Los angeles 1955 - 1985
Roman CIESLEWICZ
Throughout its professional life, Roman Cieslewicz showed an exceptional inventiveness. With an untameable creative energy and without being concerned with borders, it used joining and the photomontage to divert images and to create strange associations. The quasi systematic use of the colors sharp and the pure forms gives to its creations a single and immediately recognizable seal. Beyond its artistic qualities, Roman Cieslewicz remains also unforgettable for its standpoint, its claims, its engagement but also its capacity to be shocked. Biography of the author Born in 1930 in Poland, Roman Cieslewicz passed most of its life to France. Its work, completely singular definitively upset contemporary graphic creation. Funny, provocative, sometimes even uncomfortable or dérangeantes, its image cannot leave us indifferent. Disappeared in 1996, Roman Cieslewicz is without any doubt a emblematic figure of contemporary graphics. IT HUSTLES all the rules. It stirs up the spirits. ll triturates the images with the scissors, the photocopier and the adhesive to recycle them in a strange, provocative and poetic way. It diverts reality, recomposes it to create an inventive, free, coloured and black world at the same time, passing very close to the unreal one sometimes. The French artist of Polish extraction, Romance Cieslewicz (born in 1930 in Lwow, died in 1996 in Paris), that which was defined as a “pointsman of retina” to have the eye and the world with the eye, left us the explosive work among richest, most expressive, most claiming of the school of the Polish poster artists; this school born in the crucible of propaganda after the Second World war. Its style, founded on the circle, the large obliques, exaggerated off-centrings, the use of the letter for its figurative value, is recognized in the moment. The artist unceasingly nourishes associations of images in black and white (800/1 200 € for Topor, a photocollage of 1978, 2.000/3 000 €, joining original for It of 1968 with its bodies of truncated women, in fishnet stocking) but also colors sharp (2 000/4 000 € for the image icon of Che If, original model for the cover Opus n° 3). The world of Cieslewicz touches us by the expression of turbulences of its heart, its humour and its phantasms. Poetic and extremely at the same time. Always full with modernity.
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