Bernar Venet, Macadam noir Y, 1963
TITLE_NAME :
Macadam 1963
12/10/2024 - 01/12/2024
BIGAIGNON
18, rue du Bourg-Tibourg
75004 PARIS
www.bigaignon.fr/contact
In 1963, Bernar Venet creates a series of photographs, all made from close-ups of tarred ground. Conceived as a continuation of his early monochrome black paintings and ‘Goudrons', these photographs are part of an experimental approach linked to his questioning of the future of painting and his critical reading of contemporary gestural and lyrical trends. The Macadam photographic series is indeed part of this highly prolific context, and breaks with the use of photography hitherto employed as a means of documenting or witnessing an artistic event. Two years earlier, ‘Performance dans les détritus’ was photographed by his military service comrade and marked Bernar Venet's first performance to date. The same year, he photographed a tar flow in Carpiagne that fascinated him and influenced Déchet, his series of industrial paintings on paper. Each of these proposals is echoed within a larger work, and photography is incorporated into the other media in a serial, repetitive approach, helping to make Bernar Venet's work a "total work of art" (dixit Hans Ulrich Obrist).
12/10/2024 - 01/12/2024
BIGAIGNON
18, rue du Bourg-Tibourg
75004 PARIS
www.bigaignon.fr/contact
In 1963, Bernar Venet creates a series of photographs, all made from close-ups of tarred ground. Conceived as a continuation of his early monochrome black paintings and ‘Goudrons', these photographs are part of an experimental approach linked to his questioning of the future of painting and his critical reading of contemporary gestural and lyrical trends. The Macadam photographic series is indeed part of this highly prolific context, and breaks with the use of photography hitherto employed as a means of documenting or witnessing an artistic event. Two years earlier, ‘Performance dans les détritus’ was photographed by his military service comrade and marked Bernar Venet's first performance to date. The same year, he photographed a tar flow in Carpiagne that fascinated him and influenced Déchet, his series of industrial paintings on paper. Each of these proposals is echoed within a larger work, and photography is incorporated into the other media in a serial, repetitive approach, helping to make Bernar Venet's work a "total work of art" (dixit Hans Ulrich Obrist).