Detanico Lain: 27 rue de Fleurus
In the series 27 rue de Fleurus, Angela Detanico and Rafael Lain used the
C煤bica [Cubic] system, developed by them, to rewrite poems from the book Tender
Buttons, by Gertrude Stein. The artists then applied chromatic splotches to the
compositions based on paintings in the art collection of Stein, whose residence
was located at 27 Fleurus street, in Paris.
Gertrude Stein鈥檚 prose arose, in the early 20th century, based on a dense
dialogue with the cubism of C茅zanne and Picasso 鈥� two of the artists who were
most present in her collection. As critic James R. Mellow once wrote, 鈥淭he Stein
residence in Paris was a Mecca for the modern- minded. The principal attraction
was the collection of C茅zanne oils and watercolors, the early pictures by
Matisse and Picasso, the paintings by Renoir, Manet, Gauguin and
Toulouse-Lautrec, which she and Leo [her brother] had had the funds and the
foresight to buy. The walls of their atelier were hung to the ceiling with
now-famous paintings, the double doors of the dining room were lined with
Picasso sketches. In the early decades of the century, hundreds of visitors
flocked to the display of vanguard art: many came to scoff, but several went
away converted. It was a brilliant scene 鈥� and a historic one. For all intents
and purposes, Leo and Gertrude Stein had inaugurated, at 27 rue de Fleurus, the
first museum of modern art.鈥�
Angela Detanico and Rafal Lain have been developing a series of alphabets
since the early 2000s, which take the hybridism between design and art they deal
with in their production and ally this with traditions such as concrete poetry,
which sought to give form to the word. This production also involves a game with
contemporary art itself; as stated by critic and curator Lisette Lagnado: 鈥渨hat
is not usually pedagogical is to stimulate the desire for the 鈥榓ct of
deciphering鈥�; it is to shift the traditional signifier/signified relation; and,
moreover, to offer a way to think about a reality for art in which the public鈥檚
(mental) participation is of greatest importance in order for the work not to
founder in an empty and tautological way.鈥�
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In the series 27 rue de Fleurus, Angela Detanico and Rafael Lain used the
C煤bica [Cubic] system, developed by them, to rewrite poems from the book Tender
Buttons, by Gertrude Stein. The artists then applied chromatic splotches to the
compositions based on paintings in the art collection of Stein, whose residence
was located at 27 Fleurus street, in Paris.
Gertrude Stein鈥檚 prose arose, in the early 20th century, based on a dense
dialogue with the cubism of C茅zanne and Picasso 鈥� two of the artists who were
most present in her collection. As critic James R. Mellow once wrote, 鈥淭he Stein
residence in Paris was a Mecca for the modern- minded. The principal attraction
was the collection of C茅zanne oils and watercolors, the early pictures by
Matisse and Picasso, the paintings by Renoir, Manet, Gauguin and
Toulouse-Lautrec, which she and Leo [her brother] had had the funds and the
foresight to buy. The walls of their atelier were hung to the ceiling with
now-famous paintings, the double doors of the dining room were lined with
Picasso sketches. In the early decades of the century, hundreds of visitors
flocked to the display of vanguard art: many came to scoff, but several went
away converted. It was a brilliant scene 鈥� and a historic one. For all intents
and purposes, Leo and Gertrude Stein had inaugurated, at 27 rue de Fleurus, the
first museum of modern art.鈥�
Angela Detanico and Rafal Lain have been developing a series of alphabets
since the early 2000s, which take the hybridism between design and art they deal
with in their production and ally this with traditions such as concrete poetry,
which sought to give form to the word. This production also involves a game with
contemporary art itself; as stated by critic and curator Lisette Lagnado: 鈥渨hat
is not usually pedagogical is to stimulate the desire for the 鈥榓ct of
deciphering鈥�; it is to shift the traditional signifier/signified relation; and,
moreover, to offer a way to think about a reality for art in which the public鈥檚
(mental) participation is of greatest importance in order for the work not to
founder in an empty and tautological way.鈥�
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