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

The movement of the images

This fixing is articulated around the question of the cinema and sound inflence on the modern art and contemporary.
The cinema cannot be thought without passing by the techniques of the assembly, assembly.
Part of the exposure is of aillor devoted to the assembly.

Extracted ....

Extracted ....

collage cubists of Directs or Picasso, surrealist max Ernst or Man Ray, the pop assemblies of Martial Raysse or James Rosenquist arrange a multiplicity of images or fragments of images in a single sequence: they gather in simultaneity what the ordinary experiment of the cinema deploys in the succession. The visual arts produce a static equivalent of dynamics and sequence of the cinematographic plans......continuation

Since 1953, with the return of a voyage in Europe and North Africa, Rauschenberg works with the series of Red Paintings considered as the first outlines of Combines: abstract assemblies of various types of materials covered with painting according to a method of combination of disparate topics, whose majority of the reasons will take place in its iconographic register definitively. Without any hierarchy are thus mixed found objects, images of the popular culture and media, references to the masterpieces of the history of art and mythology and elements more strictly typographical. It is as from this same year that Robert Rauschenberg employs the term “Combines” to indicate this series of works in which it integrates images and objects of the real world into abstracted painting, abolishing kind the borders between painting and sculpture.

Installation intéractive

Born into 1994 from an initiative of Luciano Benetton and Oliviero Toscani, Fabrica is a research laboratory in communication going from graphics to the cinema, while passing by the industrial design, the music, the edition, the new media and the photography, installed in a purified architecture of Tadao Ando close to Trévise (Italy). Ci below one of the instalaltions which intérroge time.

A intéractive installation whose public is the propagonist. The visitors are of effects confronted with two images of them same in real time, with which they possibilté to interact. One of it slows down time and L E makes distinct, as if it S acted of a photograph under development, the other fragment of time is sequences of solidified moments as a pélicule of cinema which seems to move on a wall. On one of the walls the spectator is incited to immobilize itself so that the image remains clear whereas on the other it is encouraged with this moving, in order to animate the sequence.

This installation depicts two ways of being represented in time the fixity of the photograph and the filmic sequence. However in “we are the time we are the famous” the fixed image is actually the only moving image representing a certain duration, in mobility, whereas the filmed sequence is actually made up of a sériede static moment.

Of this façn the spectator is brought to make the direct experiment of the passage of the time, which it simultaneously resent like a flow and a series of fixed points. thus time can be perceived in two contradictory ways.

Collage, assembly to the Tate Britain

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

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

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

Psycho collage of jean-pierre Raynaud

Sell collage to the Fiac 2006

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

Exhibition Palacios

Create transparencies by François Mocaër

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

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

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

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

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


François Mocaër

Tags and collage 2006

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

Molecular collage statics and dynamics

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

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

The surrealist movement and collage

Relation between surrealism and joining and the other movement


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

The sample musical collage

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

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

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