Amitiés, créativité collective

Amitiés, créativité collective : Arthur Rimbaud, Paul Verlaine, Charles Cros, Germain Nouveau et d'autres. Extrait de l'Album zutique, ré-édition de 1962. Ouvrage imprimé. Collection particulière © Éditions Jean-Jacques Pauvert, 1962    Amitiés, créativité collective : André Breton, Marcel Duhamel, Max Morise, Yves Tanguy. Cadavres exquis, vers 1928. Crayons de couleur, crayon et encre de Chine sur papier plié. Galerie Natalie Seroussi, Paris © Adagp, Paris 2022 ; photo : Collection Seroussi    Amitiés, créativité collective : Ian Sommerville. Cut-up, Double portrait de William S. Burroughs et Brion Gysin, 1962.  Photomontage. Collection Soizic Audouard © D.R. ; photo : Coll. Soizic Audouard    Amitiés, créativité collective : Jean-Jacques Lebel, Enrico Baj, Roberto Crippa, Gianni Dova, Erró, Antonio Recalcati. Grand Tableau antifasciste collectif, 1960. Extrait du film de Hamid Bousmah, Les Traces de l’Épreuve, 1997 © ADAGP, Paris 2022 ;  © 1997 - IDEA Productions / IVP / H.B   

The exhibition

It is not by chance that the Zutique Album opens this exhibition organized by Blandine Chavannes and the artist Jean-Jacques Lebel. Inaugurating a genealogy of collective art, this collection is the work of poets that posterity has not retained and others among the most illustrious - Verlaine, Rimbaud or Charles Cros, also inventor of the phonograph. Between 1871, they applied themselves to co-sign and compile their texts in the wake of the Paris Commune, which Jean-Jacques Lebel summarized as a "conquest of the right to self-management. Libertarian, the elections of the artist born in 1936 join largely those of the surrealists, to which he was bound since his childhood - his father Robert, first biographer of Duchamp, was a very close of Breton from 1942. An important place is given to them in the exhibition, following the inclination to mythologize each of their actions. From the first sketches written by Breton and Soupault in the early 1920s to the four-handed paintings of Matta and Brauner, it is above all the exquisite cadavers, communal drawings or tarot cards made by the variable-geometry group of artists and poets that serve as the canon of their collective practices. But by marveling at the presence of a surrealist screen, initialed in 1937 by the regulars of the Gradiva gallery, Lebel falls into the trap of reducing the collective work to a list of signatures, necessarily glorious. There is then, as in L'Œil cacodylate (1921) initiated by Picabia and its surface filled with names and messages suitable to feed a mythography, a lot of "I" in the "we", and very little beyond.

Extract from the article by Tom Laurent published in the N°104 de la revue Art Absolument. Published February 3, 2023


16/10/2022 - 13/02/2023
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