The Soulages Museum of Rodez.
From July 7 to november 4, 2018.
What of common between Relieve, "Cistercian" painter, his blacks-lights, his shadows, his legendary (and refined) economy of means and the explosive movement Gutai, this cutting edge Japanese group which undertook, in 1954, to make a clean sweep of the past?
It was then a question for the members of the group of "doing what had been never made" (Yoshihara Jiro). As to paint with feet (Shiraga Kazuo), to use any sorts of uncommon materials, to throw on the canvas missiles of paint (Shimamoto Shozo), to drill at high speed a series of screens of paper (Murakami Saburo), etc... And to ensure (ESPECIALLY) that the paint is not anymore confined in the "picture of easel", that it becomes emancipated and clears off - on stage, outdoor, in the space, the time, the sky, the gardens and the pine forests.
Soulages also "painted" which was never painted, overrides paint, black, color, space, time, to find "elsewhere". In another space / time than its predecessors and unprecedented pictorial adventure.
The Gutai exhibition halls adjacent to the Museum Soulages. The two worlds will merge it developed. This exhibition represents the counterpoint, this openness desired by Soulages himself in what is "museum" on other adventures, other universes. And we dare add other heavens.
Backing the sky, granites windows of Conques open doubling on an inner and on an outer (transmitted opaquely, milky, declined over the hours and atmospheres). The Sky Festival, which participates Gutai in 1960, also opened him to the sky ; attached to balloons, the works were deployed in space.
The powerful gesture of Gutai painting, Gutai Theater, shares of Gutai, otherwise this gesture animates the brush strokes and brush Outrenoirs Soulages. In both cases, moreover, it seems that one is in a beyond calligraphy. It escapes, leaving its meaning, making himself matter. Pure-color material. Material light.
This, no doubt, that would end up - slightly osmosis, ephemeral - a painter like Soulages and the "kids" of restless Gutai origins. - There are in fact two Gutai : the movement of the first, rushing in all kinds of experiences and the Gutai (wiser) beginning to worry about the strength of the support of the work or object will be able to move and turn into "work of art".
Good art critic, in great artistic adviser, Michel Tapie pass by, directing the movement towards the network of international galleries. Then comes the "time table", the perennial work, own preservation, can circulate in the networks of the art market. This did not prevent the action, the action to continue. But the group now has traces solid.
The exhibition in Rodez stress this second side : the work and painting. However, do not forget the powerful gesture that gives rise to these works. And when speaking of gestures, it is often the setting in motion of the entire body. Traces of thick Shiraga Kazuo pasta is to perceive through the momentum and swing the artist's body. Hanging on a rope, the painter turns his feet wide and powerful brushes.
Do not forget, in the tour of the exhibition, the small room in which are presented photographs and documents. The essence of Gutai is delivered "raw".
Note-Bene : Few documents are now available in French on Gutai. Hence the interest of the rich catalog of the exhibition that takes stock of various aspects of the movement. To this valuable catalog should be added an older book, Gutai, Moments of destruction / Moments of Beauty. We will discover the beautiful text of a specialist Gutai, Atsuo Yamamoto who gives us an overview - high purity - the movement to its origins.
It was then a question for the members of the group of "doing what had been never made" (Yoshihara Jiro). As to paint with feet (Shiraga Kazuo), to use any sorts of uncommon materials, to throw on the canvas missiles of paint (Shimamoto Shozo), to drill at high speed a series of screens of paper (Murakami Saburo), etc... And to ensure (ESPECIALLY) that the paint is not anymore confined in the "picture of easel", that it becomes emancipated and clears off - on stage, outdoor, in the space, the time, the sky, the gardens and the pine forests.
Soulages also "painted" which was never painted, overrides paint, black, color, space, time, to find "elsewhere". In another space / time than its predecessors and unprecedented pictorial adventure.
The Gutai exhibition halls adjacent to the Museum Soulages. The two worlds will merge it developed. This exhibition represents the counterpoint, this openness desired by Soulages himself in what is "museum" on other adventures, other universes. And we dare add other heavens.
Backing the sky, granites windows of Conques open doubling on an inner and on an outer (transmitted opaquely, milky, declined over the hours and atmospheres). The Sky Festival, which participates Gutai in 1960, also opened him to the sky ; attached to balloons, the works were deployed in space.
The powerful gesture of Gutai painting, Gutai Theater, shares of Gutai, otherwise this gesture animates the brush strokes and brush Outrenoirs Soulages. In both cases, moreover, it seems that one is in a beyond calligraphy. It escapes, leaving its meaning, making himself matter. Pure-color material. Material light.
This, no doubt, that would end up - slightly osmosis, ephemeral - a painter like Soulages and the "kids" of restless Gutai origins. - There are in fact two Gutai : the movement of the first, rushing in all kinds of experiences and the Gutai (wiser) beginning to worry about the strength of the support of the work or object will be able to move and turn into "work of art".
Good art critic, in great artistic adviser, Michel Tapie pass by, directing the movement towards the network of international galleries. Then comes the "time table", the perennial work, own preservation, can circulate in the networks of the art market. This did not prevent the action, the action to continue. But the group now has traces solid.
The exhibition in Rodez stress this second side : the work and painting. However, do not forget the powerful gesture that gives rise to these works. And when speaking of gestures, it is often the setting in motion of the entire body. Traces of thick Shiraga Kazuo pasta is to perceive through the momentum and swing the artist's body. Hanging on a rope, the painter turns his feet wide and powerful brushes.
Do not forget, in the tour of the exhibition, the small room in which are presented photographs and documents. The essence of Gutai is delivered "raw".
Note-Bene : Few documents are now available in French on Gutai. Hence the interest of the rich catalog of the exhibition that takes stock of various aspects of the movement. To this valuable catalog should be added an older book, Gutai, Moments of destruction / Moments of Beauty. We will discover the beautiful text of a specialist Gutai, Atsuo Yamamoto who gives us an overview - high purity - the movement to its origins.
Website Museum Soulages
Exhibition catalog
Gutai, destruction Moments / Beauty Moments
Collection of Hyogo Prefectural Museum of Art.
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