OwnReality ( ) Publication of the research project “OwnReality. To Each His Own Reality. The notion of the real in the fine arts of France, West Germany, East Germany and Poland, - ”
Déborah Laks
Arman, Spoerri, Hains and Villeglé: Memory Through the Prism of Objects
Translated from the French by Daniel Ungar
Editor: Mathilde Arnoux Chief editor: Clément Layet Assistant managing editor: Sira Luthardt Layout: Jacques-Antoine Bresch
Recommended citation: Déborah Laks, “Arman, Spoerri, Hains and Villeglé: Memory Through the Prism of Objects”, OwnReality ( ), , online, URL: http://www.perspectivia.net/publikationen/ownreality/ /laks-en
Editor : http://www.own-reality.org/
Text published under Creative Commons Licence CC-BY-NC-ND 4.0, http://creativecommons.org/licenses/by-nc-nd/4.0. OWNREALITY ( ), D. LAKS
Arman, Spoerri, Hains and Villeglé: Memory Through the Prism of Objects
Déborah Laks
The work of the nouveaux réalistes was long viewed as the enthusias - tic adhesion of a group of artists to a period characterized by the joy of a newfound abundance, consumption and the rapid transformation of the “decor of daily life”. This reading, defended by Pierre Restany him - self, was reinforced by a comparison to pop art and by the idea – for - mulated by the situationnists but widely accepted – that “with Nouveau Réalisme, the political right finally found its art.” It also drew on the suc - cess of works whose disturbing or provocative aspects were kept at an acceptable level by the use of humor or distancing devices. This is the case with Arman’s Poubelles organiques , all the less repugnant as the Plexiglas constitutes an absolute hygienic barrier; with Hains and Villeglé’s lace - rated posters which, once remounted on canvas, have more to say about the history of collage and painting than about the walls they came from; Tinguely’s sculptures, whose humor attenuates their darkness; Spoerri’s tableaux-pièges [snare-pictures ], in which time, pinned like a dead butter - fly, refers to the triviality of a meal’s relief. In short, they integrate the codes of dadaism and the avant-garde while rendering them attractive and mar - ket-friendly. These artists, and the nouveaux réalistes in general, were thus quickly accepted by art institutions. Supported by Pontus Hulten, they were treated, very early on, to major personal exhibitions and retros - pectives, and took part in prestigious group exhibitions. The apparent facility of works that appropriated the mythologies and re-enacted the invention of the s’ everyday obscured the question rai - sed by the state of their materials. In Restany’s sociological perspective, OWNREALITY ( ), D. LAKS these materials were taken as objects, and, as such, integrated into networks of meaning and value, but their state of wear and decay were ignored, although it could have served to modify this interpretation. The silence surrounding the discarded nature of the second-hand materials used by the nouveaux réalistes corresponded to the tendency, in the s, to relegate waste to a margin not only symbolic and economic, but also material. The “glorious” wave of economic development enjoyed by Europe left little room for a critical reflection on leftovers. Environment- alism was in its infancy, and the ills of consumerism were, as yet, far from being considered as such. In a society where abundance was seen as a force for change, waste represented the past and material poverty, and was thus profoundly anachronic. When the nouveaux réalistes began their work, between and , the past that their materials evoked was one of war. The memory of the Second World War was imbedded in a vast segment of the mate - rial culture that the trente glorieuses post-war boom scrapped. By making use of waste, Arman, Tinguely, Spoerri, Hains and Villeglé thus high - lighted the twilight zones of their time. The derisory fragments they recovered were the remainders of a past whose memory was traumatic to society as a whole. In the post-war period, and up to the s, the reconstruction of French society involved repressing a painful past, rele - gating it to the edges of consciousness. Historical research is divided as to the moment in which society became aware of the Holocaust. Some historians claim that it was freely discussed as of the war’s end, but only within the Jewish community. Renée Poznanski points out that the com - munity knew what had occurred in the camps when the survivors retur - ned, whereas the majority of the population refused to acknowledge the specificity of Jewish destiny during the war. Annette Wieviorka consi - ders that the very considerable mass of testimony between and made public opinion uneasy. Society thus preferred to ignore it, so that “in the first years following the war, the Jewish memory of genocide lay dormant.” The law of silence was so strong that the narrative of depor - tation did not coincide with the return of the survivors. Silence, accor - ding to Poznanski, was not the result of a will to forget, but of the inaudibility of their testimony: “The deportees, in general, wanted nothing better than to testify, but no one wanted to hear them.” She concludes: “A Jewish memory of the war existed in France; it was simply stifled by a hegemonic memory that relegated it to the margins of society and for - ced it to take refuge in community institutions, or in family secrets.” The OWNREALITY ( ), D. LAKS
“advent of the witness” , and the awareness of the Holocaust for what it was, had to await the trial of Eichmann in . The dawn of the s, therefore, saw an intermingling of different modalities of memory. Repressed, confined to the family circle, sculpted by politics, re-emer - ging in shreds and fragments, it was shifting and conflictual. The traces embodied in waste constituted signs and evidence of lives whose sub - tlety and obscurity echoed the modalities of survival of a traumatic past. They inscribed the memory of the recent past and of the missing in a matter that remained confined to the boundaries of consciousness owing to its status as waste or obsolete object. Today, by revisiting the state of the nouveaux réalistes’ materials, along with the status of memory in the s, we can reconstitute the memorial, emotional and symbolic back - drop to their works.
To find their materials, the nouveaux réalistes scoured the city and dili - gently frequented second-hand shops, flea markets and scrap merchants. Arman was the only one directly interested in rubbish; for the Plein exhi - bition, he wanted to empty a dumpster in Iris Clert’s gallery; for his first Poubelles , he explored those of the Halles de Paris. His Accumulations , on the other hand, are, like the works of Spoerri, Tinguely, Saint Phalle, composed of second-hand, degraded, but nonetheless marketable objects. In the s and s, the circuits for such objects were very marginal: exploring flea markets or the garments that rag pickers displayed on the ground amounted to penetrating an underworld. Such places were haunts for the destitute or for lovers of the bizarre. Flea markets, the domain of those whom reconstruction had passed by, recalled war’s parallel econo - mies, shortages that impacted the financial and practical values of the most humble objects. In a more distant past, flea markets also evoked the figures of the rag-picker and the flâneur, developed by Baudelaire and, later, by Walter Benjamin : for the nouveaux réalistes, the element of chance, the links between strolling and the discovery of materials, between attention to sociological detail and historical reflection, are bound up with the acti - vities of flânerie and recycling that the poet related to the emergence of the modern city. Furthermore, as Kristin Ross demonstrated, consumption pat - terns changed profoundly and very swiftly in the s. Everyday acts and habits were modified thanks to common objects, and banality itself was pro - foundly modified in the course of some ten years. The use of plastic, but also rounded shapes, the colors and smooth finish of henceforth mass- produced objects radically transformed the appearance of households when TITRE COURANT compared to the pre-war or war periods. Objects sold at flea markets were thus at complete odds with the æsthetic that very quickly conquered French households following the Second World War. By browsing the stalls at flea markets, by sifting through piles of scrap, by wandering the sidewalks of Paris, the nouveaux réalistes thus pursued a true journey, combining time travel with an exploration of the margins. As Mary Douglas explained in Purity and Danger: An Analysis of Concepts of Pollution and Taboo , rites enact a society that defines itself by opposi - tion to its margins. Sorting, discarding, although not strictly speaking ritualized acts in our society, take on meaning in this perspective. The issue, for individuals as well as for a society, is to set boundaries, to establish a norm by separating good from bad. Douglas thus claims that cleaning, as a rite, is an ordering of our experience. When the nouveaux réalistes recycled waste, they were acting against this ordering. Arman, by reco - vering objects, Tinguely, by using twisted pieces of scrap iron, each pro - bed frontiers both symbolic and æesthetic: they at once influenced innovation in artistic practice and values and attacked a certain social order upon which society based its survival. Inasmuch as their materials remained identifiable as waste, as no effort was made to conceal or modify their status, the works of these artists drew particular attention to this line of demarcation, which was also a line of definition. Their audience was confronted with the margins of society, the boundaries that deli - neated its norms. In the twilight zones thus revealed, the waste and dis - carded objects evoked a past whose memory, though repressed, survived against all odds. The works of Arman, Spoerri and Tinguely, but also of Hains and Villeglé, are set in the context of a society that was gradually regaining awa - reness of a past it had resolutely turned its back on – beginning with the most minor elements. They feature different temporalities that compete and dialogue, in a co-existence of the collective and the individual, as well as in the survival of the past thanks to its traces. The objects used do not boast the smooth perfection of the supermarket shelves whose surface beauty Raysse extolled. They are bruised, disfigured by wear and cove - red with marks both of time and of their anonymous users. The traces evoke users, and thus inscribe man in matter. As Gérard Durozoi wrote, “since waste results from an activity, individual or social, and constitutes its objective traces, to consider it a possible material invites us to ques - tion that toward which these traces direct us, since that is also what gives works their meaning.” Waste suggests not only another present, but also OWNREALITY ( ), D. LAKS one or more actors whose gestures are imbedded in palimpsests of traces. The unique and the multiple connect and combine, giving rise to histo - ries and to History, constituting the perceptible surface of unconsciouses that are also collective. Labeled “sociological” artists, the nouveaux réa - listes are also “historians” in the sense of Benjamin’s historian-rag pickers, and see history enacted by its detritus. The artists’ declarations confirm their interest in history as approached from its material side: their recourse to the category of archeology enables them to pinpoint, in the objects and their wear, the past that survives in the very heart of the reconstruc - ted present. Arman, who took part in the French archeological mission led by the Dominican Friar Stève , refers to his work as “archeological har - vesting in garbage dumps”. Tita Reut goes so far as to compare his works to “archeological samples”. Hains was also aware of the archeological dimension of his work: “It was a sort of archeological kidnap; my contem - poraries found themselves swept away and looking at the ‘yeses’ and ‘nos’ of a referendum the way we look at inscriptions in Pompeii .” Indeed, Pompeii was a reference widely shared by the group: Arman’s series Le jour d’après [The Day After ] includes a work entitled “Pompei’s Syndrome” ( ), and we know that in César won “a scholarship to visit Pompeii, [and that] that vision was fundamental to his work.” As Didier Semin wrote, “the anamnesis of a recent past” emerges in their work “in the guise of archeology”. In his work on Hains, Philippe Forest goes further by proposing a definition of the detached poster that underscores the relevance of the sociological and archeological analysis: “it reflects the world, undoubtedly – thus the sociological value that we can attribute to it – but, above all, it does so like a universe in ruins that would allow no other form of representation than its archeological reconstruction. The extreme present, paradoxically, can only be apprehended as a finished past, occurring before a catastrophe that only let problematic and insuffi - cient fragments of things survive.” The recourse to objects in which the past emerges provides both sup - port and stimulus to memory since, as Annette Wieviorka said: “A memory only exists when linked to places and objects. The memory of those who died in deportation may only be convoked, by those who survived, in the places where, and among the things with which, they lived.” The objects, the waste used by the nouveaux réalistes, thus have a memorial status. In their post-catastrophic humility, their materiality appears as the last support for traces relegated to oblivion. Thus, when Arman created his Accumulations from shoes, combs, eyeglasses, dentures, OWNREALITY ( ), D. LAKS these objects were invitations to imagine the absent. The technique of accumulation developed by the artist directly mirrors the sequences Alain Resnais, in Night and Fog , devoted to the masses of objects and materials recovered from the bodies and the meager baggage of the deported. In Madison Avenue , The Gorgone’s Shield , Cyclope , La Vie à pleines dents as in Night and Fog , objects constitute reminders, metonyms. If the absence of human beings is so flagrant in the works of Arman, it is because the objects are clues without certainties, whose message is confused and inter - rupted. In the work of Arman, as in that of other nouveaux réalistes, waste thwarts any clear and unequivocal reading due to its transitional state, a “collector of defects” affected by a loss of usefulness and of value. Any mea - ning it may have transmitted is thus amputated. But in artworks, this mutilation constitutes a genuine opening, allowing the others, the past, the elsewhere, the ambivalence of things, their initial and secondary mea - nings, to seep in. The impermanence of waste, its derisory nature, cor - respond to the minor mode of a memory of the Second World War, a memory diluted by the desire to forget and to reconstruct. As for the traces, their very status, inherently contradictory, as signs of and wit - nesses to an absence, make them uniquely suited to promoting a resur - gence. In another of Arman’s series, composed of dolls or pieces thereof, the metonymic function co-exists with a symbolic equivalence. Hand, eyes are brought together in unsettling combinations even more clearly sug - gestive of the mountains of prostheses or garments filmed by Resnais in Night and Fog in . The dolls of Massacre des Innocents et ( ) are disarticulated, their plastic bodies bruised and their clothing soiled. These eminently pathetic works evince a great violence, as it is not only death, but also torture, that they mime and that they associate with the uni - verse of childhood. Thus, beyond a signification or a symbolism, the worn, dilapidated nature of the materials chosen by the nouveaux réalistes points to the fault line, the wound that traverses an epoch. When Raymond Hains and Jacques Villeglé began in Brittany in the s, their first works bore witness to the impact of the war, battles, bombings, on their daily lives. In and , Raymond Hains pho - tographed the ruins of Breton towns, creating striking, and little-known, images of buildings and streets that had been bombed, and thus frag - mented, reduced to their materiality. The artist underlined the visual force of stone and cement blocks whose grain reflected light in diverse ways, and whose textures were well captured by photography. Thus OWNREALITY ( ), D. LAKS photographed, the streets of Laval might evoke a stone quarry. The blocks, however, betrayed their provenance; the marks of war were eve - rywhere, in the contours of the pulverized windows, the fragments of mol - ding, even the small sections of walls left standing. Thus, Hains’s first steps as an artist were marked by ruins. From the outset, indetermination and breakage led to a type of specific thought in which fragmentation influenced the semantic, but also plastic, constructions of his works. In Jacques Villeglé’s early work as well, war makes its presence felt in his materials. One of his first works, Fils d’acier – Chaussée des Corsaires (Saint-Malo) ( ), used pieces of metal from the Atlantic Wall that had washed up on the beaches of Brittany. These twisted steel wires create negative space and suggest silhouettes engaged in a sort of dance. The ruin is transfigured, used in a joyous, supple, rhythmic composition. These early works of Hains and Villeglé are already examples of the “make do” that will irrigate all their later work. On the materials of disaster they were confronted with when very young, the marks are unhealed wounds. As with the other nouveaux réalistes, Hains and Villeglé were not inte - rested in repairing, in giving a second life, to these objects and materials. On the contrary, the lack became a medium in its own right, and, like wear and breakage, constituted the foundation of a visual vocabulary. Laurence Bertrand Dorléac has shown that images of war, despite their varied objects and contexts, respond to and combine with one another, “shapes refer to shapes, screams to screams”. The same applies to the waste used by Hains and Villeglé: fragments respond to fragments and broken pieces to broken pieces. The pieces taken from Parisian fences have an entirely different signification from the steel wire of the Atlantic Wall, but they are both signals of disaster. In the poster art of Villeglé and Hains, the tear is the visual translation of an act of sorting: it saves some images and destroys others. The pos - ters they recovered had been lacerated by a multitude of passers-by, whom Villeglé designated with a abstract, collective, theoretical term, the “lacéré anonyme” [anonymous lacerated]. The collective nature of this “actor” excludes a fetishistic fixation on gesture or choice; through it, it is a plural and societal unconscious that can express its power. As Georges Didi-Huberman points out, “Cutting amounts to injuring, to separating, to destroying a little”. The gesture, though banal, is not ano - dyne. That distinction, moreover, is vital to the work of the affichistes . It catalyzes an epoch, passions, perhaps a morality. In Hains’s and Villeglié’s Hommage à la Marseillaise de Rude ( ), which resembles less an urban OWNREALITY ( ), D. LAKS lacework than other works by the same artists, the laceration opens and mutilates. The tears depict a veritable force field, caught in the chain reactions of the passers-by whose separate gestures are combined. They excavate, in the paper, successive lines whose superimposition suggests an explosion, only ending with the appearance of white fringes. In this com - position, the artists see a parallel with the ascending forms and the dyna - mism of Rude’s composition. In the quasi-organic expression of a society, for which the artists act as spokesmen – or standard-bearers – reasons necessarily become confused and blurred. Only the gesture remains, like the expression of a drive generating an indistinct speech, but also a tear, a pang and the sound of paper, a fault in the color, the advertising or political discourse of an epoch rent by passions and subterranean memo - ries. The intertwining of times and narratives in matter give visibility to the conflictual articulation between different regimes of historicity as developed by François Hartog. The post-war period indeed extended into the s, as the memory, still contentious, of the war kept wounds from healing. The prismatic nature of the object, the multiple meanings and temporalities it embodies, can be found in the works of Daniel Spoerri. The artist explored the stoppage of time and its convulsions in his “snare-pictures”, but also his “Collections”, the Conserves de magie à la noix , his “détrompe-l’œil”, his “art multipliers”, where objects are always vectors of a temporal disruption. The Topographie anecdotée du hasard [Anecdoted Topography of Chance ] ( ), which established his artis - tic approach, presents descriptions, conceived as stratigraphic cross-sec - tions, of the various objects that occupied his room at the Hôtel Carcassonne in Paris. After mapping their disposition – a map that clo - sely resembles an archeological survey – Spoerri describes each object, dwelling on its history and sentimental significance. The slightest saltshaker, the slightest square nail are rich with the circulations, the discussion they provoked, the symbols they crystalize. With Spoerri, objects are thus like vortices in which different times coexist and dialog. This aspect of his Topographie was further enriched by its trajectory, since the first version, written by Spoerri, passed, over time, through the hands of several of his artist friends. Robert Filliou, Emmet Williams, Dieter Roth and finally Roland Topor all added their voices, which are intertwined in the final text. Designated by “a.”, “b.”, “c.”, their remarks respond to one other, over intervals of years , evoking different moments as though they were superimposed in the objects and their “biographical” narratives. OWNREALITY ( ), D. LAKS
To explore an unstable time, that folds back onto itself, replicates itself or splits open, Spoerri chooses suspension. In his work, as in that of Arman or the affichistes Hains and Villeglé, the kidnap of the present is a “fixation” , a “mental Pompeii” , in which we can contemplate the details, explore the echoes and intimate and plural resonances. It is also a reply to the “atemporal” nature of the unconscious according to Freud. Although the coexistence of memory and oblivion in the s made it difficult to take stock of the element of anxiety in the work of the nouveaux réalistes, the current state of research, as well as the treatment of the memory of the Second World War and the Holocaust, provide researchers with new tools. The various times, viewpoints, suggestions, imaginaries and memories that appeared contradictory or hidden in the works of Arman, Spoerri, Hains and Villeglé can today co-exist in the same perspective.
Translated from the French by Daniel Ungar OWNREALITY ( ), D. LAKS
Without capitalization, the term refers here Bouchet, November , FR ACA PREST to the artists thus designated by historiogra - ART / (/). INHA, collection Archives phy, whose scope goes beyond those affilia - de la critique d’art. ted to the movement or working within its See introduction to Thierry Davila, Marcher, chronological boundaries; capitalized, it refers créer. Déplacements, flâneries, dérives dans l’art de to the group as defined by Pierre Restany. la fin du xx e siècle , Paris, Éditions du Regard, The expression is borrowed from the title and Déborah Laks, “Nouveau Réalisme of the exhibition “Le décor quotidien de la in its ‘Longue Durée’: From the Nineteenth vie en , expansions et environnements : Century Chiffonnier to the Remembrance of Arnal, César, Marc de Rosny, Niki de Saint World War II”, in Catherine Dossin (dir.), Phalle, Sanejouand, Tinguely, Constantin New Scholarship on Art in France since , Xenakis”, organized by Marie-Claude Dane, EPCAF book series, Purdue University, to be Paris, Musée Galliera, April-May . published in . See Jill Carrick, Le Nouveau Réalisme: Kristin Ross, Rouler plus vite, laver plus blanc. Fetishism and Consumer Spectacle in Post-War Modernisation de la France et décolonisation au France , PhD, under the supervision of Steven tournant des années soixante , Paris, Flammarion, Z. Levine, Bryn Mawr College, , p. . ( ). Karl Feurbach, “Nouveau Réalisme et Raymond Guidot, Histoire du design de Lumpen-Proletariat”, in André Balthazar and à nos jours , Paris, Hazan, . See in parti - Pol Bury (dir.), Daily Bul , n o , La Louvière, cular chap. II: “War to peace”, p. - . unpaginated, . Mary Douglas, De la souillure. Essai sur les Richard Leeman (dir.), Le Demi-siècle de Pierre notions de pollution et de tabou , Paris, La Restany , Paris, Éditions des Cendres, INHA, Décou verte, ( ). . This remark by Gérard Durozoi is almost The term “les trente glorieuses”, widely used programmatic, but he abandons it very by French historians in the years - quickly and privileges an autonomous rea - since it was first penned by Jean Fourastié in ding of the movement in Le Nouveau , tends to be replaced today by “l’âge Réalisme , Paris, Hazan, , p. . d’or” [the Golden Age] which, in Anglo- Otto Hahn, Mémoires accumulées (entretien avec Saxon historiography, designated a quater- Arman) , Paris, Belfond, , p. . See also century (Eric Hobsbawm, L’Âge des extrêmes : Sevim Fesci, “Entretien avec Arman”, oral le court vingtième siècle, - , Bruxelles/ archive, Chicago, Archives of American Art, Paris, Éditions Complexe/ Le Monde diplo - Smithsonian Institution, April , trans - matique , , part. , chap. , p. - ; cription by the Smithsonian. Stephen Alan Marglin and Juliet B. Schor, Quoted by Jill Carrick, Nouveau réalisme, The Golden Age of Capitalism: Reinterpreting s France, and the Neo-Avant-Garde the Postwar Experience , Oxford, Clarendon Topographies of Chance and Return , Farnham, Press, ). Ashgate, , p. . On this subject, see “Des voix juives dans Arman. La traversée des objets , ed. by Tita un étrange silence”, in Renée Poznanski, Reut, exh. cat. Vence, Château de Ville - Propagandes et persécutions : la Résistance et le neuve/Fondation Émile Hugues, Vanves, “problème juif”, - , Paris, Fayard, , Hazan, , p. . p. - . Raymond Hains , Barcelona, Actar/Macba, Annette Wieviorka, Déportation et génocide : , quoted by Philippe Forest, Raymond entre la mémoire et l’oubli , Paris, Hachette, Hains uns romans , Paris, Gallimard, , , p. . p. . See also Otto Hahn, “Raymond Poznanski, (note ), p. . Hains”, in Beaux-Arts magazine , April Ibid., p. . and Le Nouveau Réalisme , ed. by Cécile Annette Wieviorka, L’Ère du témoin , Paris, Debray, exh. cat. Paris/Hannover, Galeries Plon, , quoted by Annelies Schulte nationales du Grand Palais/Sprengel Museum, Nordholt, Perec, Modiano, Raczymow. La géné - Paris, Éditions de la Réunion des musées ration d’après et la mémoire de la Shoah, nationaux, , p. . Amsterdam, Rodopi, , p. . Jean Albou, “Les chemins de César : de Letter from Pierre Restany to Renaud Pompéi à Villetaneuse”, in César, l’instinct OWNREALITY ( ), D. LAKS
du fer. - , des premiers fers aux compres - tion in France, - , Durham, London, sions , ed. by Jean Albou, exh. cat. Nice, Duke University Press, ; Laurence Musée d’Art moderne et contemporain, Bertrand Dorléac, L’Ordre sauvage : violence, Nice, Musée des beaux-arts, , p. . dépense et sacré dans l’art des années - , Didier Semin, “Pompéi mental”, in exh. cat. Paris, Gallimard, , in particular p. - Paris/Hannover, (note ), p. . Jill and - . Carrick quotes him in Carrick, François Hartog, Régimes d’historicité : pré - (note ), p. - . sentisme et expériences du temps , Paris, Éditions Forest, (note ). du Seuil, . Annette Wieviorka, “Éléments pour une his - The complete edition of the Topographie was toire de la mission Mattéoli”, in La Revue published in English in and will be des droits de l’homme , n o , , online: published in French in by the Éditions http://revdh.revues.org/ (consulted on du Nouvel Attila. Daniel Spoerri, Robert January ). Filliou, Emmett Williams and Dieter Roth, Laurence Bertrand Dorléac, “Correspon- An Anecdoted Topography of Chance , London, dances”, in Les Désastres de la guerre, - Atlas Press, . Daniel Spoerri, Topographie , ed. by Laurence Bertrand Dorléac, exh. anecdotée du hasard , Paris, Galerie Lawrence, cat. Lens, Louvre-Lens, Paris, Somogy, , . p. . See the works of Thierry Bonnot, in parti - The expression, which is Villeglé’s, first cular L’Attachement aux choses , Paris, CNRS, appeared on the occasion of his exhi - ; La Vie des objets , Paris, Éditions de la bition at the atelier of François Dufrêne in MSH and Mission du patrimoine ethnolo - Paris; it was used again and explained in gique, . Jacques Villeglé, Lacéré anonyme , Paris, Centre Jeteurs d’objets. Dialogue de Daniel Spoerri et national d’art et de culture Georges- Otto Hahn , typescript, p. . Boîte , fonds Pompidou, . Daniel Spoerri, Swiss National Archives, Georges Didi-Huberman, “Imaginer, dislo - Bern. quer, reconstruire”, in Thierry Dufrêne and Alain Jouffroy, “Pour une révolution du Anne-Christine Taylor (dir.), Cannibalismes regard”, May-December , also in Alain disciplinaires , Paris, INHA and Musée du Jouffroy, Une révolution du regard. À propos de Quai-Branly, , p. . quelques peintres et sculpteurs contemporains , Paris, Hommage à la Marseillaise de Rude , December Gallimard, . The expression “mental , lacerated posters on plywood by Pompeii” was also used by Didier Semin in marouflage, , × , cm, Paris, Centre exh. cat. Paris/Hannover, (note ), Pompidou, Musée national d’Art moderne. p. - . In their work, rather than enthusiasm over “We have learned from experience that the future, a latent violence is manifest, vio - unconscious mental processes are in them - lence of war and destruction reignited by the selves atemporal”, Sigmund Freud, Œuvres Algerian War. Hannah Feldman, From a complètes, vol. xV - , Paris, PUF, Nation Torn. Decolonizing Art and Representa - p. .