« Partnership (support, surface, disseminations) » at the CAB Foundation, release of gesture – Liberation
Face to face, at the CAB Foundation, two small paintings compete in misery. One is limited to a naked chassis, without canvas, painted in a hurry with white brush strokes. The other has a canvas, eliminated and dusty, without the slightest trace of paint. Because it is only a long stay in the earth, where Edith Dekynd has confined it for months, that the work owes the blackish and whitish marbles which macule the surface. The two pieces thus seem to rely on the same sober conception of the painting by reducing it twice nothing, without even everything you need.
However, there is a world between the two. Fifty years separate them. Chassis, Signed Pierre Buraglio, dates from 1975, from the time when the support/surface group subjected to art an austerity and weight loss cure. As of Underground (Saint-Paul de Vence),, The Belgian artist buried it last year in the garden of the Foundation, without pretending to be part of the same story as that of his elder. Thus in the exhibition « Particular partners (support, surface, disseminations) », Hugo Vitrani, his commissioner, skillfully thwarts the initial specifications: to honor a group of historical avant-garde, and around, his heirs.
Because these do not hide their reluctance in inheriting the Credo Supports/Surfaces thus brandished, in 1969, by the founders, Louis Cane, Daniel Dezeuze, Patrick Saytour and Claude Viallat: « The object of painting is the
