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Yves Klein and the End of Painting Author(S): Nuit Banai Source: RES: Anthropology and Aesthetics, No Rayonnement and the Readymade: Yves Klein and the End of Painting Author(s): Nuit Banai Source: RES: Anthropology and Aesthetics, No. 51 (Spring, 2007), pp. 202-215 Published by: The University of Chicago Press on behalf of the Peabody Museum of Archaeology and Ethnology Stable URL: http://www.jstor.org/stable/20167725 Accessed: 14-03-2018 14:30 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Peabody Museum of Archaeology and Ethnology, The University of Chicago Press are collaborating with JSTOR to digitize, preserve and extend access to RES: Anthropology and Aesthetics This content downloaded from 195.176.241.241 on Wed, 14 Mar 2018 14:30:23 UTC All use subject to http://about.jstor.org/terms 202 RES 51 SPRING 2007 ,-',* ? Figure 1. Le Vide, interior view of Yves Klein exhibition at Galerie Iris Gert, April 28-May 13, 1958; entry doorway covered with white curtains. Photo: Anonymous. Courtesy of Artists Rights Society (ARS), NewYork/ADAGP, Paris ? 2006. This content downloaded from 195.176.241.241 on Wed, 14 Mar 2018 14:30:23 UTC All use subject to http://about.jstor.org/terms Rayonnement and the readymade Yves Klein and the end of painting NUIT BANAI On the night of April 28, 1958, his thirtieth birthday, Clearly, there was something valuable within The Void, a Yves Klein initiated the most important "work" of his "sensibility" related to the realm of the aesthetic that career at the Galerie Iris Clert, in an event-performance could potentially influence the emotional, corporal, and known afc Le Vide or The Void. Originally scheduled for perceptive state of the spectator. However, within the eight days, the show was extended for another week immaculately whitewashed walls of the gallery, there because of the mass turnout, with more than three was no apparent trace of a traditional artwork and not a thousand people congesting the rue de Seine on the single monochrome on display (fig. 1). Only a solitary night of its inauguration and crowds of several hundred neon tube on the ceiling illuminated a carpeted room each day.1 It was advertised through an announcement that seemed to contain nothing (fig. 2). Nevertheless, written by Klein's foremost defender, Pierre Restany, this space of emptiness, originally known as La which invited people to attend "the demonstration of sp?cialisation de la sensibilit? ? l'?tat mati?re premi?re perceptive synthesis" that "sanctions the pictorial quest en sensibilit? picturale stabilis?e, was saturated with of Yves Klein for an ecstatic and immediately "pictorial sensibility," the invisible, intangible aura that communicable emotion."2 The invitation bore Klein's Klein had released from the monochrome paradigm. official blue stamp and had actual monetary value?its In his statement about The Void Klein explains: "The possession meant free entrance into The Void and its object of this tentative is to create, establish, and present loss or forfeit condemned the visitor to pay an entrance to the public a sensible pictorial state within the limits fee of fifteen hundred old francs per person. Klein of an exhibition space for paintings. In other words, [the defended this tactic, stating that, ". the scheme is object is] the creation of an ambiance, of a real pictorial necessary because, although the pictorial sensibility I climate, and because of this, [it is] invisible. This exhibit may be sold either in bits or in block, visitors invisible pictorial state in the gallery space must literally endowed with bodies or vehicles adapted to sensibility be the best definition that we have until today of painting will be able?despite me and all my efforts to keep the in general: rayonnement/'4 As he makes clear, Klein entire exhibition in place?to steal some degree of its wished to tap into the concentrated power embedded in intensity from me by impregnation, whether consciously the object of painting, or in its originary myth, and or not. And that, above all, should be paid for. ."3 disperse it into a situational praxis. In this way, the audience would bask in the limitless aura of painting, its I would like to thank John Rajchman, Francesco Pellizzi, and an ambience, without being restricted to obsolete anonymous reader for their comments and suggestions during the conventions such as "line, contours, forms, composition, preparation of this essay. opposition of colors, etc.," and without being confined 1. In an undated letter to his aunt Rose, Klein writes that five or to its rationalizing square limits, or its basic condition as six hundred people attended the gallery each day. The letter from the Gasperini archive is cited in Sidra Stitch, Yves Klein (Stuttgart: Hatje Cantz Verlag, 1994), p. 139. Klein places the number of visitors at two seul bloc, les visiteurs dot?s d'un corps ou v?hicule propre de la hundred in the text "Pr?paration et pr?sentation de l'exposition du 28 sensibilit?, pourront, malgr? moi, bien que je retiendrai de toutes mes avril 1958, chez Iris Clert, 3 rue des Beaux-Arts, ? Paris," in Le forces l'ensemble de l'Exposition en place, m'en d?rober par D?passement de la probl?matique de Fart et autres ?crits, ?d. Marie impr?gnation, consciemment ou non, quelque degr? d'intensit?." Ibid., Anne Sichere and Didier Semin (Paris: ?cole Nationale Sup?rieure des p. 86. Beaux Arts, 2003), p. 93. 4. "L'object de cette tentative: cr?er, ?tablir et pr?senter au public 2. "Cette manifestation de synth?se perceptive sanctionne chez un ?tat pictural sensible dans les limites d'une salle d'exposition de Yves Klein la qu?te picturale d'une ?motion extatique et peintures. En d'autres termes, cr?ation d'une ambiance d'un climat imm?diatement communicable." Yves Klein, "Pr?paration et pictural r?el et ? cause de cela m?me invisible. Cet ?tat pictural pr?sentation," in Le D?passement (ibid.), p. 85. invisible, dans l'espace de la galerie doit ?tre litt?ralement ce que l'on 3. "Cette manoeuvre est n?cessaire car bien que toute la a donn? de mieux jusqu'? pr?sent comme d?finition ? la peinture en sensibilit? picturale que j'expose soit ? vendre par lambeaux ou d'un g?n?ral, 'rayonnement.'" Ibid., p. 84. This content downloaded from 195.176.241.241 on Wed, 14 Mar 2018 14:30:23 UTC All use subject to http://about.jstor.org/terms 204 RES 51 SPRING 2007 Figure 2. Le Vide, interior view of Yves Klein exhibition at Galerie Iris Clert, April 28-May 13, 1958; empty vitrine. Photo: Anonymous. Courtesy of Artists Rights Society (ARS), NewYork/ADAGP, Paris ? 2006. an object. As Klein writes: "There is, at the moment, no From this declaration, it is apparent that Klein wished more mediation: One finds oneself literally impregnated to achieve a perceptual and physiological sensation of by a state of pictorial sensibility, specialized and immediacy, the here and now freed from all secondary stabilized beforehand by the painter in the given space, supporting apparatus and certainly from all object and it's a direct and immediate perception-assimilation relations. He wanted to strip away all the unnecessary, without any effect, trick, or deception."5 au pr?alable par le peintre dans l'espace donn?, et c'est une 5. "Il n'y a, ? pr?sent, plus d'interm?diaire: on se trouve perception-assimilation directe et imm?diate sans plus aucun effet, ni litt?ralement impr?gn? par l'?tat sensible pictural sp?cialis? et stabilis? truc, ni supercherie." Ibid. This content downloaded from 195.176.241.241 on Wed, 14 Mar 2018 14:30:23 UTC All use subject to http://about.jstor.org/terms Banai: Rayonnement and the readymade 205 confining conventions that define and constitute the environment: On the one hand, The Void would object of painting and present its affective aura, its function as abstract painting's tomb, a memorial to an rayonnement. His goal was to fully dematerialize the art experience of modernism, which could no longer object and remain with an unmediated experience of represent life in conditions of advanced capitalism. On one's bodily presence in space, a state of perceptual the other, it would be a built territory for an incipient attention that he described as "pure phenomenology," or form of post-modernist aesthetic and a new model of a the "essential, pure climate of the flesh."6 This temporal public, which Klein was in the process of constructing instant, Klein hoped, would function like a historical and which would find its fullest articulation in his tabula rasa, a rupture from the quantitative context of collaboration with the architect Werner Ruhnau at advanced capitalism and an initiation into a purely Gelsenkirchen between 1957 and 1960. qualitative realm of life, which he baptized "sensibility." To prepare the space for the last rites of abstract For Klein, sensibility is the ineffable sensation of the painting, Klein shut himself in the gallery for forty-eight individual's communion with that which is beyond them hours before the opening of the show. During this time, but which has always existed within them. It is a he removed "the impregnations of previous exhibitions" paradoxical realm within which he sought a different by purging and cleaning the space with white paint.
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