L'affiche laceree: Ses successives immixtions dans les arts

Abstract

Etienne Souriau a decrit le nouvel artiste proche de l’ingenieur dans le premier numero de Leonardo . Villegle aborde dans cet article un aspect moderne du vieil ‘artiste des mythes traditionnels’, avec toute l’ambiguite que comporte cet etat lorsque le coup defoudre devient le critere de creation. Apres avoir explique que l’introduction, depuis cinquante ans, d’objets utilitaires dans la peinture avait cree une confusion bien evidente, l’auteur explique que ses œuvres et les motivations qui les ont determinees Sont differentes. Il etudie ceux qui ont etepreSentes comme ses precurseurs en‘decollage’ (l’Oberdada Baader et le surrealiste Malet), puis comment, en collectionnant ses affiches agressees, il est devenu une personnalite laceree. Car ces œuvres sont faites par des lacerateurs anonymes a qui il attribue, entre autres merites, celui d’avoir introduit, par la dechirure, antidote contre toute propagande, la publicite au domarne de l’heureusement illisible. Etienne Souriau in the first number of Leonardo described the contemporary artist as becoming close to being an engineer. Villegle in his article discusses the modern artist in terms of an artist of the past with ‘traditional myths’ who is now confronted with an inherent ambiguity because the new criterion of creation is sudden passion. After explaining that the introduction fifty years ago of common utilitarian objects into art caused general confusion, the author points out that his works and the motives for producing them are different. He reviews the work of his predecessors in the decollage technique (Oberdada Baader and the surrealist Malet) and discusses how he evolved, while collecting torn posters, into a lacerated personality. Since his torn poster works are made by anonymous persons, he says that, among other qualities, they provide an antidote to propaganda because publicity posters have been made happily unintelligible.

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