Exquisite Corpse
Mar 22, 2013 - May 11, 2013
Exquisite Corpse 禄, sequel to the exhibition 芦 Cadavre Exquis 禄 shown at the Galerie Georges-Philippe & Nathalie Vallois in 2003, offers a selection of works inspired by the famous Surrealist game invented in Paris around 1925, in a house rue du Ch芒teau where Marcel Duhamel, Jacques Pr茅vert and Yves Tanguy used to meet. Other participants, famous or unknown, also joined them over time.
The first attempt at this poetic and playful exercise was the phrase which consecrated the game, 芦 Le cadavre 鈥� exquis 鈥� boira 鈥� le vin 鈥� nouveau 禄. However, it quickly became an experiment allowing the artist to explore the functioning of thought outside the realm of Reason. In doing so, the Surrealists both renewed and liberated the nature and practice of drawing itself.
The exhibition is twofold: it presents an exceptional ensemble of Surrealist exquisite corpses all produced around the 1930s by Andr茅 Breton, Oscar Dominguez, Paul 脡luard, Georges & Germaine Hugnet, Valentine Hugo, Ren茅 Magritte, Andr茅 Masson, Paul Noug茅, Man Ray, Yves & Jeannette Tanguy, and some anonymous; facing them, works from contemporary artists who embody the same spirit of transgression and freedom. Each work from the exhibition plays on unexpected juxtapositions and unbridled narrations.
In the tradition of exquisite corpses, Gilles Barbier presents a drawing-hommage to 芦 L鈥橭Eil cacodylate 禄, a painting by Francis Picabia composed of autographs and graffitis from his friends. In Barbier鈥檚 version, the work is subject to social and judicial bodies that have left their administrative stamps on it, thus questioning the value of signature.
The first attempt at this poetic and playful exercise was the phrase which consecrated the game, 芦 Le cadavre 鈥� exquis 鈥� boira 鈥� le vin 鈥� nouveau 禄. However, it quickly became an experiment allowing the artist to explore the functioning of thought outside the realm of Reason. In doing so, the Surrealists both renewed and liberated the nature and practice of drawing itself.
The exhibition is twofold: it presents an exceptional ensemble of Surrealist exquisite corpses all produced around the 1930s by Andr茅 Breton, Oscar Dominguez, Paul 脡luard, Georges & Germaine Hugnet, Valentine Hugo, Ren茅 Magritte, Andr茅 Masson, Paul Noug茅, Man Ray, Yves & Jeannette Tanguy, and some anonymous; facing them, works from contemporary artists who embody the same spirit of transgression and freedom. Each work from the exhibition plays on unexpected juxtapositions and unbridled narrations.
In the tradition of exquisite corpses, Gilles Barbier presents a drawing-hommage to 芦 L鈥橭Eil cacodylate 禄, a painting by Francis Picabia composed of autographs and graffitis from his friends. In Barbier鈥檚 version, the work is subject to social and judicial bodies that have left their administrative stamps on it, thus questioning the value of signature.
Exquisite Corpse 禄, sequel to the exhibition 芦 Cadavre Exquis 禄 shown at the Galerie Georges-Philippe & Nathalie Vallois in 2003, offers a selection of works inspired by the famous Surrealist game invented in Paris around 1925, in a house rue du Ch芒teau where Marcel Duhamel, Jacques Pr茅vert and Yves Tanguy used to meet. Other participants, famous or unknown, also joined them over time.
The first attempt at this poetic and playful exercise was the phrase which consecrated the game, 芦 Le cadavre 鈥� exquis 鈥� boira 鈥� le vin 鈥� nouveau 禄. However, it quickly became an experiment allowing the artist to explore the functioning of thought outside the realm of Reason. In doing so, the Surrealists both renewed and liberated the nature and practice of drawing itself.
The exhibition is twofold: it presents an exceptional ensemble of Surrealist exquisite corpses all produced around the 1930s by Andr茅 Breton, Oscar Dominguez, Paul 脡luard, Georges & Germaine Hugnet, Valentine Hugo, Ren茅 Magritte, Andr茅 Masson, Paul Noug茅, Man Ray, Yves & Jeannette Tanguy, and some anonymous; facing them, works from contemporary artists who embody the same spirit of transgression and freedom. Each work from the exhibition plays on unexpected juxtapositions and unbridled narrations.
In the tradition of exquisite corpses, Gilles Barbier presents a drawing-hommage to 芦 L鈥橭Eil cacodylate 禄, a painting by Francis Picabia composed of autographs and graffitis from his friends. In Barbier鈥檚 version, the work is subject to social and judicial bodies that have left their administrative stamps on it, thus questioning the value of signature.
The first attempt at this poetic and playful exercise was the phrase which consecrated the game, 芦 Le cadavre 鈥� exquis 鈥� boira 鈥� le vin 鈥� nouveau 禄. However, it quickly became an experiment allowing the artist to explore the functioning of thought outside the realm of Reason. In doing so, the Surrealists both renewed and liberated the nature and practice of drawing itself.
The exhibition is twofold: it presents an exceptional ensemble of Surrealist exquisite corpses all produced around the 1930s by Andr茅 Breton, Oscar Dominguez, Paul 脡luard, Georges & Germaine Hugnet, Valentine Hugo, Ren茅 Magritte, Andr茅 Masson, Paul Noug茅, Man Ray, Yves & Jeannette Tanguy, and some anonymous; facing them, works from contemporary artists who embody the same spirit of transgression and freedom. Each work from the exhibition plays on unexpected juxtapositions and unbridled narrations.
In the tradition of exquisite corpses, Gilles Barbier presents a drawing-hommage to 芦 L鈥橭Eil cacodylate 禄, a painting by Francis Picabia composed of autographs and graffitis from his friends. In Barbier鈥檚 version, the work is subject to social and judicial bodies that have left their administrative stamps on it, thus questioning the value of signature.
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