#Brau.Jean.Louis

[aamjp]

Centre Georges Pompidou

On Kawara, Today Series [1]

saw some others of these in Hamburger Bahnhof, I think, though they were displayed without the boxes // less striking display in the Pompidou but they're with full context here (i.e. the box)

box contains a cutting from the day's newspaper ( in this instance, the New York Times) with the date and page number visible // the content seems to have been selected arbitrarily > that is, it's not the front page, nor is there any obvious narrative present through the successive days 

the paintings themselves are all uniform, except for the changing date > they immediately historicise the present // THIS HAS COME UP SOMEWHERE ELSE ON THIS TRIP > APT, collecting work as historicising the present 

the series is dated (i.e. old and old hat) but I think it gives me permission to pursue the crossword paintings as a form of history painting through inclusion of the image (or images... projections?)

Collection

Marcel Broodthaers, Le corbeau et le renard [“the fox and the crow”] > non-QWERTY keyboard > or has it just been rearranged? The A swapped with the Q, the Z with the W? The 1 and 0 keys also seem to be missing? // Salle blanche [“white room”] > brought to mind Gabriel Garcia Marquez’s plague of amnesia

Joseph Kosuth, One and Three Chairs, 1965 :D

Miklós Erdély, Theses on The Theory of Repetition, 1972-3 > "explores the concepts of repetition and resemblance, and questions notions of the original” // from the theses:

13. Since man can stand neither the catalepsy of total identification nor the dizziness of continuous change and diversity, he regards the sphere of resemblances and analogies, rhythmical changes and dialectical periods as his own. He looks for the same in the different, and the different in the identical. The man of intellect, however, can only recognize himself in total change.

Art & Language, Map of a thirty-six square mile surface area of the Pacific Ocean west of Oahu, 1967 

Rémy Zaugg, Sans titre, 1988 [2] > carefully printed black type over a lascivious (haha) white paint > it works?

Paul Klee, Pfeil im Garten, 1929 [3] > Russell Craig says Klee’s blurry lines are monoprinted

Mondrian’s edges are really imprecise, nearly sloppy

It’s hard to take photos of Barnett Newman’s work

Picabia, L’oeil cacodylate, 1921 > was this in one of Polke’s prints? // hmm, Man Ray photographed it, but I’m not sure this is what I remember

Duchamp, Fountain, 1917 (1964)  

★ Gil Joseph Wolman, l’horreur de l’horreur, Saigon, c. 1958 [4] > tape transferred to canvas // HHHHHH Un homme saoul en vaut deux, 1952 [5]

★ Jean-Louis Brau, The Ghoo that Jack Built, 1963 [6]

Lettrism — Isidore Isou intended leftism a “total project simultaneously theoretical and practical, aesthetic and political" > influenced Guy Debord, François Dufrêne, Brau and Wolman // my research at the start of the year was on-point

Futura and Rot concrete poetry journals // Hansjörg Mayer and Max Bense > Bense was a "philosopher and mathematician influenced by C S Pierce's semiótica and was interested in the implications of cybernetics for art" > cf. dude in Venice

Jasper Johns, Figure 5, 1960

★ Cornel Brudascu, Portrait d’une génération, 1970 [7-8] > technique for cryptics

Marcel van Eeden, Sans Titre, 2015 > equivalence of line and writing over a grey-scaled ground