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Ben Vautier, Niki De Saint Phalle, François Morellet, Louise Bourgeois, Alexandre Hollan, Claude Viallat, Sophie Calle, Bernard Pagès, Jean-Pierre Pincemin, Annette Messager, Gérard Titus-Carmel: 11 significant French artists of the final 40 years or so, tested within the gentle in their area of expertise and their rootedness, the specificities in their differing and every now and then overlapping plastic practices and the swirling and infrequently hugely hybridised conceptions entertained in regard to such practices. therefore does research variety from dialogue of the feisty, Fluxus-inspired, free-spirited funkiness of Ben Vautier’s paintings to many of the modes of transcendence of trauma and haunting worry generated by way of the outstanding gestures of Niki de Saint Phalle and Louise Bourgeois, to the alyrical formalism but imbued with irony and ludicity of François Morellet, via to the serene intensities of Alexandre Hollan’s vies silencieuses, the endless a-signatures of Claude Viallat’s event within the sheer pleasure of a poiein of self-reflexive shade, the powerfully dependent and muscular disarticulations of Bernard Pagès’ sculpture, the nice sweep via art’s historical past implied by way of Jean-Pierre Pincemin’s chameleon-like gestures, the tremendous swirling programme of socio-psychological research the humanities of Annette Messager and Sophie Calle provide of their notably detailed manners, the obsessively serialised oeuvre of Gérard Titus-Carmel permitting a burrowing deep into the opaque common sense of a true although doubtful ‘presence to the world’.

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Modern French artwork 1 seventy three suggest. this can be precise of Edit Sasvári’s essay, the place Hollan’s poetics of seeing is believed via on the subject of a few of the “stages” of his gesture: Le chêne qui s’envole, works I-III (2002), are adduced as facts (cf. , EV, 40-41); or, equally, in reference to different “states” Hollan can painting of an identical phenomenon: L’Espace du silence, items I-II (2001), superbly serve to demonstrate the moving how (Sasvári’s name is Voir l’arbre? remark? ) in the back of the imaginative and prescient (cf. HEV, 41). Michael Brophy’s learn is heavily interwoven with a analyzing of sure strains in Bonnefoy’s De grands blocs rouges and sees Hollan’s artwork as meaning to, might be attaining, that “repose in dreaming manifestness, laying one’s head, eyes close, upon the shoulder of items” that Bonnefoy’s textual content from l. a. vie errante conjures up, and that speaks of a vibrational cohesion of being past intelligibleness and the buildings of rationalising belief. Marie-José Mondzain bargains with the best way a contemplative demeanour contends with the circulate of the genuine via an inventive strategy of composition-cumdecomposition, the aim of such method being, it really is back argued, the attainment of that serenity exemplified via the 2 magnificent 2001 acrylics « Le Glorieux », chêne, I-II. Andrea Verba has written of the tensions of a démarche that strikes either in the direction of the true and but clear of “marked facts” in a gesture that may appear to depart presence “impoverished” (HEV, 26). a number of Vies silencieuses (cf. HEV, 24-34) are essentially held to relate those tensions which unravel themselves within the good judgment, and adventure, of an “inner image”(HEV, 29) wherein the “object” unearths itself transported right into a better ontic area and immanence. Helga Muth continues that such transgression contains a dissolution of the standard “categories of truth and fiction, imitation and invention, of, too, intensity and surface”, this leading to “a spirituality of things”. it's no ask yourself that the poet, Jacques Ancet, has lately written, in Aujourd’hui, poème, that what's finally at stake in Hollan’s oeuvre is “the unlimited, beginningless and never-ending latency of the indescribable, inexhaustible, unfathomable real”. A latency of “material ecstasy”, he indicates. 7 sooner than relocating to a couple concluding feedback targeted on Hollan’s most modern canvases and drawings, I should still like, of necessity, so much compactly, to come back to grips with 3 matters or “equations”: visibility and invisibility; comprehension and accompaniment; calm7 different pertinent severe paintings by way of, for instance, Éric Bonnet and Jean-Claude Desmergès, could be present in Alexandre Hollan: Temps et belief (2000). seventy four Seeing Being: Alexandre Hollan ness and flow. If the perceptible constitutes an important, frequently longsought aspect de repère, it truly is transparent that Hollan’s charcoals and acrylics and washes are faraway from representational: they are often obscure, imprecise, indecipherable to the purpose of near-absolute abstraction of shape noticeable to the rational eye.

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