02 n°91 sep/oct/nov 2019
02 n°91 sep/oct/nov 2019
  • Prix facial : gratuit

  • Parution : n°91 de sep/oct/nov 2019

  • Périodicité : trimestriel

  • Editeur : Association Zoo galerie

  • Format : (210 x 297) mm

  • Nombre de pages : 92

  • Taille du fichier PDF : 9,6 Mo

  • Dans ce numéro : les frères Quistrebert.

  • Prix de vente (PDF) : gratuit

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5 Guest The Quistrebert Brothers 8 While the Rake Paintings series aims to give rise to this disposition of soul by way of a chromatically spare and minimal abstraction, the video installation borrows from optical art a visually very saturated vocabulary. Glowing and colourful geometric forms file quickly past in a loop, creating a sort of hypnotizing tunnel which zigzags over a length of 65 feet. The monumental dimensions as wellas the rate of flow of the forms prevent the gaze from settling on any specific point by drawing it into an at once bewitching and disturbing back-and-forth. In accordance with their usual modus operandi, this installation is the outcome of a system of multiple layered quotations. If the first quotations to be imposed are those of the Op Art of the 1960s and 1970s and the psychedelic movement, avant-garde studies of visual music are a no less fundamental point of reference. In the tradition of abstract painting, the analogy between colour and sound constitutes a confirmedtheoretical basis. We can see this, for example, in Kandinsky, who gave his paintings musical titles, and in the Orphic Cubists—thus namedby Apollinaire paying tribute to the mythological poet and musician, Orpheus. Despite the fact that the video installation is sound-less, the artists regard this work as a sort of musical opera whose score is madeup of forms and colours. We might thus compare it to the experiments of the Russian composer Aleksandr Scriabin, who included in the score of his Prometheus, the Poem of Fire (1910) a part for an organ which did not produce any sound but simply projected coloured lights matching the musical tones. Their free, and at times irreverent, superposition of eclectic historical references
5 Guest The Quistrebert Brothers 9 refers us to Bob Nickas’s text mentioned at the start of our analysis. For the New York critic, the abstraction of the late 20 th and early 21 st centuries is the manifestation of a liberation and levity acquired with regard to the heavy weight of tradition. So the œuvre of the Quistrebert brothers might be legitimately included in this tendency which he calls ‘found abstraction’, because of the repertory of already existing forms which it uses as raw material. If this type of abstraction seems to share the same discussion of the author figure as the appropriationist movement of the 1980s, Nickas sees therein a basic difference  : the appropriationists were interested in the notion of the double and the identical reproduction of the original, whereas the new generation of abstract painters is scarcely a mirror of what went before it. It assembles its multiple references in hybrid compositions which no longer have anything to do with the original. For Nickas, this is the beginning of the ‘anonymous abstraction’which covers the author with an anonymous veil, along with the references he uses. Esssentially, this feeling of anonymity is not far removed from what we might experience when looking at the works of the Quistrebert brothers. From now on, if art, including art for art’s sake, as Steven Parrino clearly says— « I’m still concerned with ‘art about art’but I’m also aware that ‘art about art’still reflects the time in which it was made. Content is not denied… Content is obvious… Content is sustained in the air or the vibe of the work », —is invariably the expression of the context in which it is produced, should we not see in this anonymous character the most current embodiment of the formof expression of our contemporary society ?



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