LE PETIT SCRIBOUILLE DU TRAMEUR...: N°00 29 MARS 2019 "FORMELLEMENT RIEN À VOIR ... ( OU ALORS PAS GRAND CHOSE !)" par Stefano
LE PETIT SCRIBOUILLE DU TRAMEUR...: N°00 29 MARS 2019
Désormais, a partir du 29 mars 2019 paraîtra un article unique datés chaques mois ou trimestre...
THE SMALL SCRIBOUILLE DU TRAMEUR ...: N ° 00 29 MARCH 2019
From now on, March 29, 2019 will appear a single article dated every mont
NUTTEIN / HANTAÎ : "FORMELLEMENT RIEN À VOIR ...
(OU ALORS PAS GRAND CHOSE ...)"
par Stefano Ceccarelli.
Alors que je cherchais l'adresse de l'artiste Nicolas NUTTEIN pour lui envoyer un petit carton d'invitation de la prochaine expo de l'artiste O.Fouchard (http://tramists.canalblog.com/archives/2019/02/22/37122258.html ), je suis tombé par l'agorithme google sur un rapprochement étrange de l'I.A et ses fameux algorithmes : Une photographie d'une toile d'un autre artiste : Simon HANTAÏ. https://www.google.com/search?q=Nicolas+Nuttein+adresse&newwindow=1&safe=active&tbm=isch&source=iu&ictx=1&fir=uFWejVfbpljWWM%253A%252C5O1iKQxHmK8TLM%252C_&vet=1&usg=AI4_-kRNbl78CyQl756YQ9Hk1ANfKGb0mA&sa=X&ved=2ahUKEwjdx6L-vqbhAhUFJhoKHdpMDyoQ9QEwB3oECAkQCg#imgrc=Q9SboO0nEqom-M:&vet=1
NUTTEIN / HANTAÎ: "FORMALLY NOTHING TO SEE ...
(OR THEN NOT LARGE THING ...) "
by Stefano Ceccarelli.
While I was looking for the address of the artist Nicolas NUTTEIN to send him a small invitation card of the next exhibition of the artist O. Fouchard (http://tramists.canalblog.com/archives/2019/02/ 22 / 37122258.html), I fell through the google agorithm on a strange approximation of the AI and its famous algorithms: A photograph of a canvas of another artist: Simon HANTAÏ. https://www.google.com/search?q=Nicolas+Nuttein+adresse&newwindow=1&safe=active&tbm=isch&source=iu&ictx=1&fir=uFWejVfbpljWWM%253A%252C5O1iKQxHmK8TLM%252C_&vet=1&usg=AI4_-kRNbl78CyQl756YQ9Hk1ANfKGb0mA&sa=X&ved=2ahUKEwjdx6L-vqbhAhUFJhoKHdpMDyoQ9QEwB3oECAkQCg# imgrc = Q9SboO0nEqom-M & vet = 1
Hantaï / Nuttein ? Du point de vue de la forme, de la technique, de la "démarche" et du "processus de fabrication", çà n'a rien à voir me dis-je ! Ou si peu...
L'un peind en utilisant des techniques parfois sophistiquées de pliages ou "froissages", et de trempages, dépliages sur des toiles écrues de tailles immense (...ou du moins parfois grandes et très grandes...); L'autre, dessine sur feuilles de papier de format moyens, petit voire très petit format avec des crayon dit "magics" des faunes d'animaux tenant à la fois de l'animal, du végétal (plus rarement) et du minéral... Pourtant il y a bien du Cézanne dans les blancs de Nuttein, parfois même des blancs du papier en fond (je le sait pour en avoir un ou deux dans mon atelier)...Et puis cherchant aussi des articles sur chacun d'eux afin d'étayé ce rapprochement un peu scabreux sur les deux artistes, j'ai cherché des documents vidéo et des articles sur les deux artistes...Je vous livre ainsi ma recherche de la façon la plus neutre possible et j'ai pus constaté que le nom de Cézanne en référence est cité pour ce qui concerne les deux artistes...Voilà. C'est de qu'on appelle une vue "formaliste" basée sur la ressemblance que sont les logiciels de reconnaissances "faciales" ou "d'images par ressemblances" et apprentissage de l'I.A. avec le "deep learning". Mettre sur le même plan et du coup presque dans le même sac, comme ça deux artistes si différents relève d'une insensibilité de la machine au monde réel tactile, sensible ou palpable et comme par un hasard surréaliste tenant à la fois de la ressemblance un peu grossière de deux images et puis y trouver le nom d'un autre artiste pour les réunir n'est pas tout à fait du au hasard...J'aurais plutôt pour ma part en ce qui concerne NUTTEN cherché chez RIOPELLE à cause des formes "figuratives" plus ou moins dissimulées dans le tableau...Mais ce qui lie NUTTEIN et HANTAÏ c'est bien les blancs de CÉZANNE...C'est curieux vous ne trouvez pas ? C'est vrai çà ,n'a pas grand chose à voir...
S.C., le 29 mars 2019
Deux images trouvées sur "google images" :
Formellement rien à voir ...Où alors pas grand chose ?
Hantai / Nuttein? From the point of view of form, technique, "step" and "manufacturing process", it has nothing to do I say! Or so little ...
One peind using techniques sometimes sophisticated folding or "crumpling", and soaking, unfolding on unvaryed canvas huge size (... or at least sometimes large and very large ...); The other, draws on medium-sized paper sheets, small or very small format with pencil called "magics" animal fauna holding both animal, plant (more rarely) and mineral .. Yet there is indeed Cezanne in the whites of Nuttein, sometimes even white paper bottom (I know to have one or two in min workshop) ... And then also looking for articles on each of them In order to substantiate this somewhat scabrous approach to the two artists, I looked for video documents and articles about the two artists ... I give you my research in the most neutral way possible and I found that the name of Cézanne in reference is quoted as regards the two artists ... That's it. This is called a "formalistic" view based on the resemblance that is the recognition software "facial" or "images by similarities" and learning the I.A. with the "deep learning". Put on the same shot and suddenly almost in the same bag, like that two artists so different is an insensitivity of the machine to the real world tactile, sensitive or palpable and as if by a surreal chance holding both resemblance a little coarse two images and then find the name of another artist to bring them together is not quite at random ... I would rather for my part as regards NUTTEN sought at RIOPELLE because of "figurative" forms more or less concealed in the painting ... But what binds NUTTEIN and HANTAI it is the white of CÉZANNE ... It is curious you do not find? That's right, does not have much to see ...
S.C., March 29, 2019
Two images found on "google images":
Formally nothing to see ... Where then not much?
SIMON HANTAÏ :
ci-dessus : Simon Hantaï, « Mariale m.a.2 », 1960, huile sur toile, 278 x 214,5 cm, CAPC, musée d’art contemporain, Bordeaux © Adagp, Paris 2013.
"Sans cesse Hantaï a cherché à être lui-même, étonné par sa propre peinture. À notre tour d'être étonné par les 130 toiles rassemblées ici par Dominique Fourcade, Isabelle Monod-Fontaine et Alfred Pacquement. Comme le résume Dominique Fourcade dans le catalogue, avec cette rétrospective, « il s’agit d’ouvrir avec humilité cette œuvre à elle-même, comme un sujet qui s’est longtemps ignoré et qui ne sait toujours pas […] combien il est cohérent, violent et magnifique »."
Portrait du peintre Simon Hantaï. Dans son atelier, il montre sa peinture - déployée sur d'immenses tissus - et il évoque sa carrière, ses projets, ses théories picturales.
https://fresques.ina.fr
"Peintre d'origine hongroise, né en 1922, Simon Hantai est un artiste engagé qui a mené une véritable réflexion sur l'acte de peindre et la place de l'art à la fin du XXe siècle. Après avoir rejoint les surréalistes à son arrivée en France en 1949, il s'en sépare comme d'autres avant lui, face à l'inflexibilité d'André Breton. Ce dernier refuse de reconnaître le lien entre l'"action painting" de Jackson Pollock et l'écriture automatique qui visait à empêcher la raison, les idées préconçues de s'exercer par une écriture spontanée et rapide. Cette imprévisibilité du geste, le rejet des modes d'expression traditionnels, sont pourtant bien à la base des travaux de Pollock, puis d'Hantai.
Influencé par ailleurs par les aplats de Cézanne et les découpages de Matisse, Simon Hantai va mettre au point en 1960 "le pliage comme méthode". La toile, dépourvue de châssis, est pliée, nouée, puis enduite de peinture, avant d'être retendue et de se divulguer, véritable révélation aux yeux de son créateur. Au début des années 1980, alors qu'il est au faîte de sa gloire, Hantai se retire de la scène artistique pendant quinze ans, refusant de participer à la marchandisation et l'institutionnalisation des artistes. Situationniste désabusé, il déplore l'absence de sens critique de ses contemporains : "Ils travaillent tous à l'embellissement de la société. (...) L'art a été neutralisé, il est devenu quelque chose comme un service social".
Influenced by Cezanne's solids and Matisse's cuttings, Simon Hantai developed "folding as a method" in 1960. The canvas, devoid of frame, is folded, knotted, then coated with paint, before being re-stretched and divulged, a real revelation in the eyes of its creator. In the early 1980s, when he was at the height of his glory, Hantai withdrew from the art scene for fifteen years, refusing to participate in the commodification and institutionalization of artists. A disillusioned situationist, he deplores the lack of critical sense of his contemporaries: "They all work for the embellishment of society (...) Art has been neutralized, it has become something like a social service".
Cécile Olive "
"The painting that Simon Hantaï is currently doing has received a set of decisive impulses from the work of Cezanne, Matisse and Pollock, and Jackson Pollock's work has forced Hantaï to try to fundamentally renew the painter's situation vis-à-vis the field to paint.To paint a new painting, we must face the unknown and ensure that this unknown remains as long as possible unknowable, hence the folding Hantaï inaugurated in 1960. Folding his canvas before painting, Hantaï removes any possibility of knowing in advance what he will paint.It also skips most of the control of the image in the process of This is his way of blindfolding himself and groping authentically, and it is in the context of this fully assumed night that Simon Hantai began to question Cezanne and Matisse. is riveted to a questioning of the work of these two pei we can say that even today it has not ended and that it has drawn the consequences. Cezanne gave him the assurance that the path of modern painting consisted in expression by color. The power of color alone can give form its fullness and account for the construction of the world. Cézanne also brought to Hantaï the evidence that the way of the modern in painting passed by the arrangement of white as important as the painted areas and that the painted and unpainted set could and should be arranged in a breathable plane of which not a point does not sink in. Hence the implementation by Hantai of a painting that he himself proclaims: found. The cut papers are the part of Matisse which Hantaï has particularly nourished.Matisse cut out in the color considered as the universe, he defined the color of the shapes that he then shifted and scattered in the white considered as law of the world. He wanted to sublimate the color into light, a mental light, the only light at once source and ultimate answer of inspiration. Matisse wanted to give something to perceive, the essential thing that was not painted. It is a confidence in things of this order, which Hantai has drawn from his elders, and it is with this confidence that he has advanced without citation, radically towards himself.
(Silence)
Report
These very large paintings for the central space of the CRPC in Bordeaux represents for you the most radical way to get into the problem of color?
Simon Hantai
The beds have a very curious architecture, which recalls the arches of the small churches, that is to say, it is lit up above the windows,
Report
Yes
Simon Hantai
It seems to be a possibility to try, to realize many projects that I had in the old times, and in particular, to enlarge it, by the quantity of the color the luminous intensity, and to see what modification it produces in the internal structures of And that, and in relation to the question that Matisse posited that a square centimeter is less blue ...
Report
That one square meter
Simon Hantai
One square meter. Imagine for example that I have a monochrome surface of 12 meters out of 9,
Report
Yes.
Simon Hantai
And I will fill it with one color once folded. That is to say we have a experience of color display, which has a kind of burn of the eye that produces in relation to the daily experience, a limit experience, and here it is something that Western painting has never experienced. And since each, so far always, the painting was a composite painting, it was always filled edge to edge, except at the last Cezanne, and in all of Matisse's work at the end.
(Music)
Simon Hantai
All I have thought about is the theoretical, scientific question, is there any color? The theory of color as practiced, reflected by the painters, until the end of the nineteenth century, even in the twentieth century, with certain exceptions, is a certain sector of color, a certain force of color , especially strongly marked by the concern of color localized in the world, in nature. The only one where it appears a break, it is Cézanne, it leaves something which is a break of the filled space. Cézanne is the first painter who has the gaped space said that I can not finish because if I let nothing flow on this unfilled white canvas, at this moment, in relation to this color put, it will be necessary that I redo the whole of the canvas. He gradually appeared in his work, something that is, that he observed the nature ex before the Montagne Sainte-Victoire, which is a very particular nature. You have a kind of huge white mountain totally delocalizes the landscape, and from then on, all the objects, the trees, the rocks, all that, do not appear as lit by the sun, they are there precisely to make the decomposed light work. which forms a screen in front of the mountain. As this work progresses, you can see the awareness that you may never finish a painting. And maybe this is the very foundation of this changeover, the color does not work as before. Habit, a relationship of complementarity, all that, does not play.
(Music)
Simon Hantai
I saw in Matisse, the great conflict of his life was that he had a separate drawing after he put the colors, it was necessary each time to modify the drawings. Until he arrived at a certain point in his maturity, make a series of drawings where the line put is only distributor of white. That is to say, it does not work as a sign of something, but only to distribute certain ways of white and those whites there are in the mind of colored Matisse. So if I work, a painting, I would put there, one color next to the other, filled, all that, so well that, I will not take care of these questions that were opened by Cezanne or Matisse. Because we have to broaden that, that is to say I say much more than Cezanne and Matisse knew about it, as far as I think about it.
(Music)
Simon Hantai
And color, in this way could only approach in an off-center space and possibly inverted space. But in this perspective, everything is gray, a faded gray front, Cezanne when he looked at it, surely it became totally dull. When I paint an hour or two, everything is dirty. I mean that all the color absorbs, the coloring intensity absorbs, let's say it weakens the eye or it kills in some way partially. But it certainly exacerbates the faculty that we normally do not exercise, and you suppose that in a gaped and reversed space, that is to say where the distances between the two colors are so great that normally the eye usually Incoming colors can not work anymore. In this sense, if there is no hole in Cezanne, if there is no hole in Matisse, on the white paper, it does not work. The color there is not used to show, look at me I'm so beautiful, one side to the other, I see I make a harmony, it is there to disappear in favor of something else. Here. Then there is a new notion of painting that can be approached, if you give up tactility beauty like Cézanne or Matisse renounces afterwards to make the ugly paper cut, in favor of a beauty quite straight, that the touch could never have allowed. From the moment there is this qualitative degradation in the natural sense. It is less beautiful than tactilely than all the others, but it is another beauty absolutely superior if one wants it. That is to say, there comes a whole other palette that comes into the field of work, and I know that the yolk works in a certain way, that is to say it will overflow in the lilac, under certain conditions, not in the best condition. Because in the complementary conditions, it will work in its own way, or the green goes into being in the rosé; here, etc.
(Music)
Simon Hantai
When we ask Matisse, what will be the future of painting? He said: he is not color, he is more color, he is light. That is to say, there is the distinction that this function of color is essentially linked to light and not to matter. This is the only thing that interests me since this perspective seemed to me quite dazzling. In the folds, as I painted, the white and the long paint appeared, more and more active, at the end practically alone active. All I want to know about it is, it's both a material story, both an optical story and at the same time, especially spiritual or soul, soul question or when I do not know what word describe poetry. That is to say, light is, necessarily the foundation of the world, on the absolute material plane. And it is precisely the sign and the symbol of another infinite. You go deep, necessarily you go into a hole, it's the opening. So good, but necessarily, this opening on the infinite. I mean, it's not a question I want answer with which I make sure of something, I just do not want any answer. I want the absolute no answer, that is infinity.
(Music)
(Silence)"
NICOLAS NUTTEIN :
nouvelle version du site de l'association Alter-Art
https://sites.google.com
"Alter-Art vous propose, pour commencer l'année 2017, une exposition de dessins de Nicolas Nuttein. Nicolas Nuttein vit et travaille à Grenoble. Après des études scientifiques, il a suivi les cours de l’École Supérieure d’Art de Grenoble. En 2003 Il développe des séries de dessins au fusain dont la production est continuée périodiquement. En 2014 il aborde la couleur en utilisant des crayons multi-couleurs. Cette exposition à Alter-Art est sa première exposition personnelle.
Il glisse doucement à l'intérieur, s' immerge dans ce mouvement en perpétuelle expansion, insaisissable.
Nicolas Nuttein modèle la forme, la démultiplie par le trait et la couleur. Le trait et la couleur se lient, se délient, en une palpitation de cellules.
L'image devient vibration, déploiement primordial en éveil.
Ces lacis étrangement proches, étrangement familiers, desseins d'un paysage élémentaire sont aussi nébuleuse, voie lactée d'une légende métamorphique.
Nicolas Nuttein tisse des nuées de motifs, emplies des sons et du souffle des métamorphoses, masse saturée de germinations.
L’œil est incontestablement grisé par ce kaléidoscope de l'émergence."
"Alter-Art offers Nicolas Nuttein's drawing exhibition to start the year 2017. Nicolas Nuttein lives and works in Grenoble After studying science, he took courses at the École Supérieure d'Art in Grenoble In 2003 He develops series of charcoal drawings whose production is continued periodically.In 2014 he discusses color using multi-colored pencils.This exhibition at Alter-Art is his first solo exhibition.
"Everything migrates into the drawings of Nicolas Nuttein and metamorphoses: rhythms, drawings, contrasts - the forms move, creating random landscapes that are born and are deepened before our eyes, as if we were located above them. The artist touches on a sensitive, even lyrical abstraction, with his infinitely modulated features, right to the edge of the paper, ready for the break.
Using his multi-colored pencils, he plunges us into a chromatic euphoria, and one thinks about what Rilke says about Cezanne: "that never had it appeared better how much painting takes place in the colors and that we must leave them alone so that they explain each other mutually. Their trade is all painting. "
But what makes me (we?) Touch so strongly against this wave of signs that we do not know if they are human, animal, plant? What shakes in the constant modification of their forms under an unknown pressure?
Perhaps an image, in the primary sense of the term: the imprint of our humanity, individual or collective, subject to so many pressures and shocks, that slips and changes from space to space, towards an unknown future.
Image transcended by the sensuality of gesture: it vibrates on paper, in a warm, constantly reinvented movement, that of the living.
Janine Desmazières - November 2016
"Nicolas Nuttein starts there, on the brink of vertigo.
The surprised eye, intrigued, questions, hesitates where to guide his vision.
He slips gently inside, immersed in this movement in perpetual expansion, elusive.
Nicolas Nuttein models the form, multiplying it by the line and the color. The line and the color bind, loosen, in a throbbing of cells.
The image becomes vibration, primordial deployment awake.
These strangely familiar stretches, strangely familiar, the design of an elemental landscape are also nebulous, the milky way of a metamorphic legend.
Nicolas Nuttein weaves clouds of patterns, filled with sounds and the breath of metamorphoses, a mass saturated with germination.
The eye is unmistakably intoxicated by this kaleidoscope of emergence. "
Jean-Luc Didier - November 2016 "
Autres oeuvres de ces deux peintres :
ci-dessus : Simon Hantaï : Blanc, 1974, peinture acrylique sur toile. 205cm x 182. Adagp, Paris 2013.
Sources :