{"id":45582,"date":"2022-04-09T15:43:12","date_gmt":"2022-04-09T14:43:12","guid":{"rendered":"https:\/\/www.tornabuoniart.com\/?p=45582"},"modified":"2022-05-06T15:07:42","modified_gmt":"2022-05-06T14:07:42","slug":"yves-klein-on-fire","status":"publish","type":"post","link":"https:\/\/www.tornabuoniart.com\/fr\/yves-klein-on-fire\/","title":{"rendered":"Yves Klein – On Fire"},"content":{"rendered":"

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Pour moi, le feu est l’avenir, sans oublier le pass\u00e9. C’est la m\u00e9moire de la nature. […] C’est un dieu protecteur et terrible, bon et mauvais. Il peut se contredire : il est donc un des principes de l’explication universelle. Peut-\u00eatre n’avons-nous pas encore suffisamment compris que le feu est une entit\u00e9 sociale plut\u00f4t que naturelle, et pour comprendre la validit\u00e9 de cette observation, il n’est pas n\u00e9cessaire de d\u00e9velopper des consid\u00e9rations sur le r\u00f4le du feu dans les soci\u00e9t\u00e9s primitives, ou d’insister sur les difficult\u00e9s techniques de l’entretien d’un feu.<\/h2>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Yves Klein, L\u2019e\u0301volution de l\u2019art vers l\u2019immate\u0301riel, conf\u00e9rence \u00e0 la Sorbonne, 3 et 5 juin 1959<\/h5>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][vc_column width=”1\/3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]Yves Klein<\/strong>, l’artiste responsable de l’ouverture de cette fascinante exposition, a \u00e9t\u00e9 attir\u00e9 par l’aspect dialectique du feu, symbole \u00e0 la fois du bien et du mal, de la destruction et de la r\u00e9g\u00e9n\u00e9ration, de la vie et de la mort. “Pour moi, le feu est l’avenir sans oublier le pass\u00e9. C’est la m\u00e9moire de la nature. C’est la douceur, le feu “est douceur et torture”. C’est le foyer et l’apocalypse. C’est un plaisir pour l’enfant qui s’assoit au coin du feu ; il punit, en revanche, toute d\u00e9sob\u00e9issance lorsqu’on veut jouer de trop pr\u00e8s avec ses flammes. C’est le bien-\u00eatre et le respect. C’est un dieu tut\u00e9laire et terrible, bon et mauvais.”[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_separator][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_single_image image=”47065″ img_size=”large”][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

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Yves Klein est n\u00e9 le 28 avril 1928 \u00e0 Nice dans une famille d’artistes : son p\u00e8re Fred Klein est un peintre figuratif, sa m\u00e8re Marie Raymond une peintre abstrait. En 1947, avant de se lancer dans une carri\u00e8re artistique, il commence \u00e0 pratiquer le judo. En 1952, il se rend au Japon pour perfectionner sa technique et devient ceinture noire (quatri\u00e8me dan).<\/p>\n

En 1955, il expose des \u0153uvres monochromes de diff\u00e9rentes couleurs au Club des solitaires \u00e0 Paris sous le titre Yves, peintures<\/em>. Il est devenu c\u00e9l\u00e8bre sous le nom d'”Yves le Monochrome”.<\/p>\n

\u00c0 l’automne 1956, il inaugure sa “p\u00e9riode bleue” en choisissant un bleu outremer existant, tr\u00e8s satur\u00e9, qui, selon Klein, incarne “l’expression parfaite du bleu”.<\/p>\n

Les monochromes bleus ne sont toutefois qu’un aspect de sa production, qui se d\u00e9veloppe \u00e0 l’aide de diff\u00e9rentes techniques. Dans ses Peintures de feu<\/em>, ainsi que dans les Cosmogonies<\/em> (gravures de vent et de pluie), l’artiste \u00e9voque les \u00e9l\u00e9ments naturels pour exprimer leur force cr\u00e9atrice. La premi\u00e8re a \u00e9t\u00e9 r\u00e9alis\u00e9e en 1957, dans le jardin de la Galerie Colette Allendy \u00e0 Paris, le jour de l’inauguration des Propositions monochromes<\/em>. Les Sculptures \u00c9ponges<\/em> sont con\u00e7ues comme des portraits de visiteurs tremp\u00e9s dans des pigments, pour illustrer le concept de transmission de la sensibilit\u00e9 artistique. L’un des \u00e9l\u00e9ments pr\u00e9f\u00e9r\u00e9s de l’artiste est l’or, utilis\u00e9 comme support conduisant \u00e0 l’absolu.<\/p>\n

L’exposition “La sp\u00e9cialisation de la sensibilit\u00e9 \u00e0 l’\u00e9tat de mati\u00e8re premi\u00e8re en sensibilit\u00e9 picturale stabilis\u00e9e” \u00e0 la Galerie Iris Clert en 1958 (pour laquelle il vide compl\u00e8tement la galerie parisienne), ainsi que la vente des Zones de sensibilit\u00e9 picturale immat\u00e9rielles<\/em> (pay\u00e9es avec de petits lingots d’or dont la moiti\u00e9 est jet\u00e9e dans la Seine), am\u00e8nent son art \u00e0 s’ouvrir \u00e0 l’immat\u00e9riel.<\/p>\n

En d\u00e9veloppant ses recherches sur les \u00e9l\u00e9ments fondamentaux (air, eau, feu), Klein d\u00e9finit une “architecture de l’air” et expose ses principes en juin 1959 dans une conf\u00e9rence \u00e0 la Sorbonne. Il est aussi l’un des pr\u00e9curseurs du happening, gr\u00e2ce \u00e0 la performance publique des anthropom\u00e9tries<\/em>, ou du Saut dans le vide<\/em>. Dans une exposition monographique organis\u00e9e par le mus\u00e9e de Krefeld en 1961, il pr\u00e9sente de nouvelles exp\u00e9riences avec le feu comme \u00e9l\u00e9ment figuratif, qu’il utilise comme m\u00e9dium \u00e0 la surface de toiles en carton su\u00e9doises au Centre d’essais de Gaz de France la m\u00eame ann\u00e9e.<\/p>\n

Le 21 janvier 1962, Klein \u00e9pouse la jeune artiste Rotraut Uecker. Il meurt quelques mois plus tard \u00e0 l’\u00e2ge de 34 ans, laissant derri\u00e8re lui une \u0153uvre sans limite et audacieuse qui inspire encore des g\u00e9n\u00e9rations d’artistes et de passionn\u00e9s contemporains.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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