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Yves Klein and His Contemporaries 18.07.20 01.02.21 Press Kit

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Yves Klein and His Contemporaries 18.07.20 01.02.21 Press Kit YVES KLEIN AND HIS CONTEMPORARIES hisme : LSD Studio 18.07.20 01.02.21 PRESS KIT PK © VG Bild-Kunst Succession Yves Klein c/o ADAGP, Paris 2019 Photo BPK, Berlin, Dist. RMN-Grand Palais / image BPK — Grap centrepompidou-metz.fr #lecielcommeatelier Charles Wilp, Yves Klein sur une échelle devant son relief-éponge au Neues Stadttheater de Gelsenkirchen — Allemagne, Berlin, B THE SKY AS A STUDIO YVES KLEIN AND HIS CONTEMPORARIES CONTENTS 1. INTRODUCTION ..................................................................................5 2. YVES KLEIN AND HIS CONTEMPORARIES ..........................................6 3. EXHIBITION LAYOUT ...........................................................................8 4. CATALOGUE ......................................................................................23 5. LIST OF PRESENTED ARTISTS ..........................................................24 6. YOUNG PUBLIC AND ASSOCIATED PROGRAMMING .........................25 7. PARTNERS........................................................................................27 8. IMAGES AVAILABLE FOR THE PRESS ...............................................29 3 THE SKY AS A STUDIO YVES KLEIN AND HIS CONTEMPORARIES Yves Klein dans la salle dédiée à la Sensibilité picturale immatérielle, dite du Vide [Raum der Leere], dans l’exposition « Yves Klein : Monochrome und Feuer », Krefeld, Museum Haus Lange, janvier 1961 © Charles Wilp / BPK, Berlin © Succession Yves Klein c/o Adagp, Paris, 2020 4 THE SKY AS A STUDIO YVES KLEIN AND HIS CONTEMPORARIES 1. INTRODUCTION THE SKY AS A STUDIO. YVES KLEIN AND HIS CONTEMPORARIES From July 18th 2020 to February 1st 2021 GRANDE NEF From 18th July 2020, the Centre Pompidou-Metz will the effective motors during the first two decades present an exhibition devoted to Yves Klein (1928- of the twentieth century, it was being evacuated", 1962), a major figure on the post-war French and by Klein and his contemporaries, "in favour of a European art scene. Beyond the Nouveaux Réalistes total aestheticisation -even of politics - which was movement to which critics, in line with the opinion advancing 'ever further' on the cinders of history1". of Pierre Restany, mainly associated him, Yves Klein developed close ties with a whole host of The new visual arts strategies developed aim to artists, from the spatial artists in Italy to the ZERO go beyond the materiality of the work of art, seen and NUL groups in Germany and the Netherlands. as an obstacle to freedom, and to experiment with He also maintained certain affinities - albeit more monochrome, emptiness and light, in gestures distant and less assertive - with the Gutai group where the work is, like Lucio Fontana's lacerated in Japan. Alongside these groups, Yves Klein, the or perforated canvases, open to infinity. This "space painter", took art into a new dimension cosmogonic aspiration was shared by these artists where the sky, the air, the void and the cosmos are who, like Klein, combined water and fire, earth an immaterial workshop conducive to reinventing and air. The works of light by Günther Uecker, Otto man's relationship with the world, after the tabula Piene and Heinz Mack, which evoke galaxies in rasa created by the war. formation, thus keeping back their anguish in the face of the threat of nuclear war. In the age of In a world marked by the still-present memory the conquest of space, the poetic dimension of the of the Second World War, and in the context of cosmos is put to the test, and Klein asserts: "It will the Cold War and the atomic threat, artists started not be with rockets, sputniks or space crafts that abandoning traditional techniques in favour of man will achieve the conquest of space because, actions or performances where the intensity of life in this way, he will always remain a tourist in this is ever present. Conversely, the use of monochrome, space; but it is by inhabiting it with sensitivity2". emptiness or light, the aspiration to a zone of This generation of artists, fired by a libertarian silence, collective and festive manifestations are idealism, conceived the sky as an immaterial and also part of another perception of the world, marked spiritual shield against the nuclear arms race and by reconstruction and the birth of new utopias. the proliferation of its artificial suns. As Antje Kramer states, "if subversion was one of 1 Antje Kramer, L’ Aventure allemande du Nouveau Réalisme. Réalités et fantasmes d’une néo-avant-garde européenne (1957-1963), Dijon, Les Presses du réel, 2012, p. 330. 2 Yves Klein, « L’évolution de l’art vers l’immatériel. Conférence à la Sorbonne » (1959), repr. in Le dépassement de la problématique de l’art et autres écrits, Marie- Anne Sichère et Didier Semin (éd.), Paris, Beaux-Arts de Paris éditions, 2003, rééd. 2011, p. 122. 5 THE SKY AS A STUDIO YVES KLEIN AND HIS CONTEMPORARIES 2. YVES KLEIN AND HIS CONTEMPORARIES Yves Klein was born in Nice on 28th April 1928, whom he would collaborate on the construction to artist parents - Fred Klein (1898-1990) and site of the Gelsenkirchen opera house (1957-1959). Marie Raymond (1908-1989). His mother, an At his first exhibition in Germany, at the Schmela abstract painter, frequented many artists and Gallery in Düsseldorf, Yves Klein met Otto Piene representatives of the world of arts and letters and Heinz Mack, who would form the ZERO Group such as the Lettrists in Nice and Paris. During his in the same year, later joined by Günther Uecker. youth in Nice, he discovered a passion for judo Shortly afterwards, Klein met Rotraut Uecker, a (meaning "the practice of art" in Japanese), which young artist who would accompany him in his at that time was less of a sport than a method projects and become his wife in 1962. of intellectual and moral education aimed at self- control. In 1946, Yves Klein symbolically signed l’envers du ciel (the other side of the sky) as being "the most beautiful and greatest of [his] works1." From then on, he strove to make visible the infinity of space through his "monochrome adventure" and the quest for immaterial art that he initiated at the turn of the 1950s and continued until his death. Between 1952 and 1954, Yves Klein stayed in Tokyo, Japan, where he dedicated himself to obtaining the 4th dan in judo at the Kôdôkan institute - he was the first Frenchman to reach such a level. Upon his return, he published his book Les Fondements du judo, [The Fundamental Principles of Judo] as well as a collection of monochromes under the title Yves Peintures [Yves Paintings]. He then perfected the production of the famous ultramarine blue IKB (International Klein Blue), which in his eyes took on a spiritual dimension. 1957 marked the beginning of Yves Klein's international career: on the occasion of the exhibition of his blue monochromes at the Galleria Apollinaire in Milan (Yves Klein. Proposte monocrome, epoca blu, 2-12 January 1957), he befriended Lucio Fontana and met Piero Manzoni, with whom he maintained complex ties despite their affinities. Manzoni, inspired by Klein's approach, soon afterwards dedicated himself to his series of Achromes. In March, the gallery owner Yves Klein, Monochrome bleu sans titre, (IKB 4), 1961 Iris Clert introduced Klein to the artist Norbert © Succession Yves Klein c/o Adagp, Paris, 2020 - Cliché : Adagp Images Kricke and the architect Werner Ruhnau, with 1 Yves Klein, « Manifeste de l'Hôtel Chelsea, New York, 1961 », repr. in Le dépassement de la problématique de l’art et autres écrits, op.cit., p. 310. 6 THE SKY AS A STUDIO YVES KLEIN AND HIS CONTEMPORARIES It was also in 1957 that Yves Klein created his The following spring the first major group first immaterial works, on the occasion of two exhibition of the ZERO galaxy, Vision in Motion joint exhibitions in Paris, Yves Klein: Propositions / Motion in Vision, was held at the Hessenhuis in monochromes simultaneously at the Iris Clert Antwerp. The group published the third issue of its Gallery and the Colette Allendy Gallery. At Iris magazine in 1961, which included two important Clert's, the advent of the "Blue Era" is celebrated texts by Klein. This publication gave rise to a festive with the release of 1,001 blue balloons into the event, ZERO. Exhibition Demonstration Edition at Paris sky at the inauguration, christened Sculpture the Schmela Gallery in Düsseldorf, which marked aérostatique (aerostatic sculpture). At Colette Günther Uecker's official membership of ZERO. Allendy's, he presented his first Peinture de Feu [Fire Painting] and the first Immatériel [immaterial] Yves Klein continued his pursuit of beauty in its on the first floor of the gallery: Surfaces and invisible state: "Art is wherever the artist turns blocks of pictorial sensitivity. Pictorial Intentions, up". His dream of inhabiting the sky, which which consists of a room left completely empty. becomes clearer in his project for an Architecture This research around the immaterial reaches its de l’air [Air Architecture] developed with architect apogee the following year with the exhibition on Claude Parent, is part of a context of utopian the specialisation of sensibility in the raw material research into new ways of living. In a spiritual state into stabilised pictorial sensibility, known as approach, he integrates the use of natural the exhibition of the Void, at the Iris Clert Gallery elements into his paintings: his first experiments, in 1957, lead to his powerful Peintures de Feu [Fire In 1958, Yves Klein took part in the first exhibition Paintings] in 1961, and in 1960 he produced his of the ZERO group and published his text "Ma first Cosmogonies, works produced with the help position dans le combat de la ligne et de la couleur of atmospheric phenomena. " [My position in the fight for line and for colour] in the first issue of the eponymous magazine. In the Just before his death on 6th June, 1962, Yves Klein same year, together with the sculptor Jean Tinguely, is said to have confided to a friend: "I'm going to who was also associated with the Gelsenkirchen enter the biggest studio in the world.
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