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CURRENT EXHIBIT/ GHERASIM LUCA & JIRI KOLAR - [ Traduire cette page en français ]

A language within the language
(Ghérasim Luca: Cubomanies, preceded by some wrinkling’s by Jiri Kolar

“I am obliged to invent a way to walk, to breathe, to exist, because the world in which I move is neither water nor air, nor earth, nor fire to inform me in advance that I have to swim or fly or walk on two legs”
Ghérasim Luca, The inventor of love, 1945

For an artist, always, “everything has to be reinvented.” Is this possible without offending, without cutting into pieces, his predecessors? In the history of art, as in the world “no Oedipal” that Ghérasim Luca called of his wishes, it should be possible to achieve without having to kill the father. June 29, 1947, he wrote to Sarane Alexandrian: “mythical struggle between freedom and its opposite currently is provided between Oedipus and non-Oedipus. The unbearable everyday life, fiercely but exactly described by the systems (Marxism, freudismes, existentialism, naturalism…) should be wildly exceeded by a quantum leap into a kind of life in life, love in love, indescribable, indistinguishable and irreducible to language systems. I speak of the life and non-Oedipal death (accessible through the excessive behavior of the surreal), that is to say, the absolute negation of the nostalgic and regressive umbilical cord, distant source of our ambivalence and our misfortune”.
Both poets, foreigners, the Czech Jiri Kolar (1914-2002) and Ghérasim Luca from the origin of Romania (1913-1994) chose France to invent artistically, in the tradition of real surrealism, mirror reverse effect of “power syndrome” of Soviet ambitions.
As summarized Gilles Deleuze in his Dialogues with Claire Parnet, 1977: “Again it is a question of becoming. People always think the future as a majority (when I grow up I will have the power…) While the problem is that of a minor majority, not to pretend, not to behave or imitate a child, the crazy, women, animals, the slutterer or a foreigner, but to become all of that, to invent new forces or new weapons.”
All of the artists of the twentieth century seem to have learned history of painting by collecting images from chocolate boxes. Jiri Kolar and Ghérasim Luca have managed to bring out of these coarse miniature reproductions a new beauty, pure, unsuspected, which belongs to them, which fully corresponds to their desire.
“Theorizing” somehow the Cubomanies, which consist of a geometrical cutting of images of old paintings reassembled upside down, Ghérasim Luca and his accomplice Dolfi Trost declared in the forties “…choose three chairs, two hats, some stones and umbrellas, several trees, three naked women, five very well-dressed, sixty men, a few houses, cars from all areas, gloves, telescopes, etc. Cut everything into small pieces (eg 6/6 cm). And mix well in a large city square. Reconstitute according to the laws of chance or your whim and you will get a landscape, an object or a beautiful unknown woman or recognized, the woman or the landscape of your desires”. (Colored graphs presentation of cubomanies and objects).
Meanwhile Jiri Kolar was developing a lot of personal techniques of collages, like the wrinkling that he called “the magician” the Czech muchlat verb, meaning, “offend”. Kolar left laying in the water (in the rain, he specified) and old engraving or a reproduction of a painting, and he crumbled it leaving a part of chance, before he pasted it flat. As Luca, Kolar literally looked inside the work of the great painters of the past “a landscape, an object or a beautiful woman unknown or recognized, the woman or the landscape of (his) desires”.
Therefore the poets Kolar and Luca have invented a unique style, unmistakable, subtle, moving, of extreme precision and yet total freedom. “A style is to stutter in your own language”, continued Gilles Deleuze in the above quoted text. “It’s difficult because there must be a necessity for such a slutter”. He added, “To be like a stranger in your own language”. “Ghérasim Luca was a great poet among the greatest, he invented a prodigious slutter, his”, he insisted. “We must be bilingual even before only one language, we have to make minor use of our own language. Multilingualism is not only the possession of a number of systems, each of which is homogeneous in itself; it is first a creepage or variation that effects every system by preventing it from being homogeneous. Not talking like an Irishman or a Romanian in a language other than his own, but on the contrary speak on your own language like a stranger. Proust said: “the best books are written in a kind of foreign language; Under each word each one of us puts its senses or a least an image which is often a contradiction, but in the good books all the nonsense we do are beautiful…” This is the right way to read: all mistranslations are good, however, provided thy do not consists of interpretations, but they concern the use of the book, they multiply in use; they do even one language within language.

Stephan Corréard


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