Lily Woodruff
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Lily Woodruff Participatory Art and Institutional Critique in France, 1958–1981 Dis- ordering the Establish- ment DISORDERING THE ESTABLISHMENT Woodruff_3PP.indd 1 3/24/20 2:36 PM DIS- ORDERING THE ESTABLISH- MENT Participatory Art and Institutional Critique in France, 1958–1981 Lily Woodruff Duke University Press Durham and London 2020 Woodruff_3PP.indd 3 3/24/20 2:36 PM © 2020 Duke University Press This work is licensed under a Creative Commons Attribution-Non- Commercial- ShareAlike 4.0 International License. To view a copy of this license, visit http:// creativecommons.org/licenses/by-nc-sa/4.0/. Printed in the United States of America on acid-free paper ∞ Designed by Drew Sisk Typeset in Portrait Text and Antique Olive by BW&A Books, Inc. Library of Congress Cataloging-in-Publication Data Names: Woodru, Lily, [date] author. Title: Disordering the establishment : participatory art and institutional critique in France, 1958–1981 / Lily Woodru. Other titles: Art history publication initiative. Description: Durham : Duke University Press, 2020. | Series: Art history publication initiative | includes bibliographical references and index. Identiers: 2019041827 (print) | 2019041828 (ebook) ¡¢ 9781478007920 (hardcover) ¡¢ 9781478008446 (paperback) ¡¢ 9781478012085 (ebook) Subjects: ¡¥: Buren, Daniel. | Cadere, André, 1934–1978. | Collectif d’art sociologique. | Groupe de recherche d’art visuel. | Arts and society—France. | Interactive art—France. | Art—Political aspects—France. | Art criticism— France—History—20th century. | Art, French—Government policy—France. | Arts, Modern—20th century. Classication: ®¯°±.¡² ³²² 2020 (print) | ®¯°±.¡² (ebook) | ´´ 709.05/015—dc23 record available at https://lccn.loc.gov/2019041827 ebook record available at https://lccn.loc.gov/2019041828 Cover art: André Cadere, Avenue des Gobelins, Paris, April 1973. Photo by Bernard Borgeaud. Copyright Galerie des Locataires. Courtesy Succession André Cadere and Galerie Hervé Bize, Nancy. This book is made possible by a collaborative grant from the Andrew W. Mellon Foundation. Publication is made possible in part by a gift from Elizabeth and Todd Warnock to the Department of Art History at Northwestern University. This book is freely available in an open access edition thanks to (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of Michigan State University. Learn more at the website, available at openmonographs.org. Woodruff_3PP.indd 4 3/24/20 2:36 PM CONTENTS List of Illustrations vii Acknowledgments xi Introduction 1 1 3 The Groupe de Recherche André Cadere’s d’Art Visuel’s Social Calligrams of Abstractions Institutional Authority 31 143 2 4 Daniel Buren’s The Collectif d’Art Instrumental Invisibility Sociologique’s 91 Sociological Realism 195 Conclusion 257 Notes 265 Bibliography 293 Index 304 Woodruff_3PP.indd 5 3/24/20 2:36 PM ILLUSTRATIONS Figure I.1. André Cadere, invitation, Établir le désordre, 1977. Figure I.2. Atelier Populaire, of the École des Beaux-Arts, Paris, Je participe, tu participes, il participe, nous participons, vous participez, ils protent, May 1968. Figure 1.1. Groupe de Recherche d’Art Visuel, A Day in the Street, 1966. Figure 1.2. Piet Mondrian, Composition with Grid 3: Lozenge Composition, 1918. Figure 1.3. François Morellet, Etude, trames superposées, 1959–1960. Figure 1.4. Julio Le Parc, À partir d’un ciel de Van Gogh, 1958. Figure 1.5. Julio Le Parc, Continual Mobile, installed at the Biennale de Paris, 1963. Figure 1.6. Francisco Sobrino, Permutational Structure S, 1965. Figure 1.7. Julio Le Parc, Instability, 1959. Figure 1.8. Groupe de Recherche d’Art Visuel, preparatory drawing for the exhibition Labyrinthe, 1963. Figure 1.9. Joël Stein, Labyrinths, 1958. Figure 1.10. Josef Albers, Equal and Unequal, 1939. Figure 1.11. Groupe de Recherche d’Art Visuel, Modular Elements for Manipulation, 1966. Figure 1.12. Groupe de Recherche d’Art Visuel, Penetrable Kinetic Structure, 1966. Figures 1.13, 1.14, and 1.15. Julio Le Parc, Lunettes pour une vision autre, 1965. Figure 1.16. Groupe de Recherche d’Art Visuel, Mobile Tiles, 1966. Figure 1.17. Groupe de Recherche d’Art Visuel, A Day in the Street questionnaire, 1966. Figure 1.18. Questionnaire response to the exhibition Instability, 1962. Figure 1.19. Questionnaire response to the exhibition Instability, 1962. Figure 1.20. Julio Le Parc, Anti-Car, 1966. Figure 1.21. Julio Le Parc, Screen of Reective Slats, 1966. Figure 1.22. Horacio Garcia-Rossi, Instable Light Box: Ambiguous Portrait of the ¡¢£¤ Members, 1966. Figure 2.1. Daniel Buren, Hommes/Sandwichs, April 1968. Figure 2.2. Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni, Manifestation 1: Buren, Mosset, Parmentier, Toroni, 1967. Woodruff_3PP.indd 7 3/24/20 2:36 PM Figure 2.3. Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni after. Manifestation 1: Buren, Mosset, Parmentier, Toroni, 1967. Figure 2.4. Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni, poster from Manifestation 3: Buren, Mosset, Parmentier, Toroni, 1967. Figure 2.5. Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni, Manifestation 3: Buren, Mosset, Parmentier, Toroni, 1967. Figure 2.6. Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni, Manifestation 3: Buren, Mosset, Parmentier, Toroni, 1967. Figure 2.7. Daniel Buren, installing his stripes next to the Mouchotte, May 1969. viii Figure 2.8. Daniel Buren, installing his stripes next to the Mouchotte, May 1969. Figure 2.9. Daniel Buren and Guido Le Noci in front of the Galerie Apollinaire, October 1968. Figure 2.10. Protests outside the exhibition 72-72: Douze ans d’art contemporain en ILLUSTRATIONS France. Figure 2.11. Entrée de l’expo gardée aprés la 2èm charge de crs. 16 mai 1972. Figure 2.12. Daniel Buren, Les formes: Peintures, 1977. Figure 2.13. Daniel Buren, Exposition d’une exposition, une pièce en 7 tableaux. Figure 3.1. André Cadere, invitation to the exhibition A Painting Exhibition Reuniting Certain Painters Who Would Put Painting in Question, 1973. Figure 3.2. Installation of A Painting Exhibition . , 1973. Figure 3.3. Corneliu Baba, Portrait of a Worker, 1961. Figure 3.4. André Cadere delivering the talk “Présentation d’un travail, utilization d’un travail” in Louvain, 1974. Figure 3.5. Jacques Charlier, illustration of André Cadere’s process and exhibition tactics, 1975. Figure 3.6. Invitation to exhibition at Galleria Banco in Brescia, Italy, 1975. Figure 3.7. André Cadere, sketch for installation plan at the ¿À Gallery, March– April 1977. Figure 3.8. Invitation to exhibition at Galleria Banco in Brescia, Italy, 1975. Figures 3.9, 3.10, 3.11, and 3.12. Series of identical photographs by Bernard Borgeaud with text by André Cadere. Figure 3.13. René Magritte, The Treachery of Images, 1929. Figure 3.14. AndréAndré Cadere, invitation for presentations of round bars of wood at various locations, 1975. Figure 3.15. AndréAndré Cadere, invitation to exhibition of his work, June 25, 1974. Figure 3.16. AndréAndré Cadere, invitation to exhibition of his work at Valerio Adami opening, November 22, 1973. Woodruff_3PP.indd 8 3/24/20 2:36 PM Figure 3.17. André Cadere exhibition at Valerio Adami opening, November 22, 1973. Figure 3.18. André Cadere in conversation with the public during his Space and Politics exhibition, February 1976. Figure 3.19. André Cadere spray painting at the Parc Montsouris, 1972. Figure 3.20. Spray painting by André Cadere on a palisade in Paris, 1972. Figure 3.21. André Cadere with graÁti underscoring Pierre Overney posters in the rue Visconti, 1972. Figure 3.22. André Cadere’s graÁti intervening in writing in support of the Pleven Law, 1972. ix Figure 3.23. André Cadere exhibiting his work at the Louvre, with friends Gilbert and George, March 16, 1975. ILLUSTRATIONS Figure 3.24. André Cadere exhibiting his work in the second of two identical walks, one and a half years apart, on West Broadway in New York, 1978. Figure 3.25. André Cadere outside the International Hospital of the University of Paris, June 1978. Figure 4.1. Hervé Fischer, Hygiène de l’artiste, 1972. Figure 4.2. Hervé Fischer, Usage ultime du chlorure de vinyle, 1973. Figure 4.3. Hervé Fischer, Douane culturelle, summer 1974. Figure 4.4. Hervé Fischer, Pharmacie Fischer & Cie, 1974. Figure 4.5. Fred Forest, photograph submitted as part of the Portrait de famille project, 1969. Figure 4.6. Fred Forest, participant response to Space-Media project from Le Monde, 1972. Figure 4.7. Fred Forest, participant response to Space-Media project from Le Monde, 1972. Figure 4.8. Fred Forest, Le blanc envahit la ville, performance at the SÃo Paulo biennial, October 1973. Figure 4.9. Jean-Paul Thénot, La cote des oeuvres: Sur les implications socio-économiques de l’oeuvre d’art, 1974. Figure 4.10. Collectif d’Art Sociologique, Le-Moulin-à-Vent neighborhood, 1976. Figure 4.11 and 4.12. Collectif d’Art Sociologique, Le-Moulin-à-Vent neighborhood, 1976. Figure 4.13. Collectif d’Art Sociologique, Le-Moulin-à-Vent neighborhood, 1976. Figure 4.14. Collectif d’Art Sociologique, La Real neighborhood, 1976. Figure 4.15. Collectif d’Art Sociologique, Saint-Jacques neighborhood, 1976. Figure 4.16. Collectif d’Art Sociologique, Saint-Jacques neighborhood, 1976. Woodruff_3PP.indd 9 3/24/20 2:36 PM Figure 4.17. Collectif d’Art Sociologique, Saint-Jacques neighborhood Mass, 1976. Figure 4.18. Fred Forest, Restany dine à La Coupole, 1974. Plate 1. Joël Stein, Quadrature du cercle (Squaring the Circle), 1959. Plate 2. François Morellet, Répartition aléatoire de 40.000 carrés suivant les chi²res pairs et impairs d’un annuaire de téléphone, 50% rouge, 50% bleu (Random Distribution of 40,000 Squares Using the Odd and Even Numbers of a Telephone Directory, 50% Red, 50% Blue), 1960. Plate 3. Daniel Buren, Aµchage sauvage, April 1968.