Martial Raysse - Retrospective 1960-2014
Centre Pompidou, Paris
The Pompidou has developed a reputation for major shows of pop art and surrealism, indeed alongside this exhibition are exhibitions featuring Man Ray and Andre Breton, the Raysse retrospective was a vast thing apart. The Centre has assembled 200 pieces by Raysse and arranged them as journey that is non-linear in time or style, instead flits between these in a way that feels almost playful, the effect is one of consistent sensory excitement. it's seldom that an exhibition can feel exciting, funny, touching and convey, at times, a feeling of dread.
The assemblage is a masterclass in exhibition curation.
Raysse began as a writer, though became a self-taught artist when he realised that some language is untranslatable, yet visual art can be read universally.
The assemblage is a masterclass in exhibition curation.
Raysse began as a writer, though became a self-taught artist when he realised that some language is untranslatable, yet visual art can be read universally.
The exhibition opens with a collection of his early sculptures, pieces made from discarded plastic and packaging, a 1960s attempt to explore consumerism, which then leads to vast white space that is effectively a maze of paintings and sculpture brightly punctured by vivid neon lights, work inspired by Andy Warhol. From there you are led to desert oasis contained within huge white tent where you are encouraged to place your own hand prints in the sand, to be led from there to be the 'victim' of a video installation where you are filmed close up admiring the work while other visitors witness your facial contortions. The whole exhibition is liberally scattered with these playful elements as if the artist is trying to provoke a reaction far removed from the usual earnest shuffle from work to work of the traditional gallery exhibition.
One of the more important areas of the exhibition is a collection of Raysse's 'variable geometries' work. Disillusioned with the strictures of the pop art movement he began to explore alternative methods of expression. In particular he sought alternative ways of portraying the female face. His explorations included neon, but also experimentation with cutting portraits into small squares which could then be randomly reassembled. For me, one of the more fascinating areas as the auto-didact struggles to find individual expression, a theme that is familiar to many photographers. Other areas explore Raysse' video work, a medium he appears to have taken to with some enthusiasm, abandoning the conventional form of the 'movie' for something more individual, more explorartory and often deliberately comic. He persuaded friends and fellow artists to take on the acting roles, some of whom displayed serious ability. On show in the exhibition were his 1969 short 'Camembert Martial Extra Doux' (Extra soft martial Camembert) and his 1972 feature film, 'La Grande Depart' (The Great Goodbye).
Into this century Raysse has been engaged in a series of vast paintings, such as 'Ici Plage' (above), one work exhibited examined the human space between heaven and hell and took the form of three panels approximately 5m by 5m and arranged as three sides of a square, the work normally on show in a church. A fascinating exhibition with much to excite the photographer in its handling of theme, composition, colour and light from a much undiscovered artist, especially in his native France. Centre George Pompidou, Paris. Exhibition Website: http://www.centrepompidou.fr/cpv/resource/cn6eMx/rG9boz Return to the Exhibition Visits page HERE |