Vernissage on Wednesday 16 December at 18h in & rsquo; s Space & rsquo; Concrete Art, Château de Mouans-Sartoux.
Event on FaceBook : https://www.facebook.com/events/718892018248419/
Connective work is based on the collection and diversion of raw materials, become unnecessary, in view of giving them a second life, and change the spectator’s look on what is surrounding him. The meeting with the material, born out of chance and inspiration, guide the artists plying between art and design. The dance with the object gives birth to the orientation of a production between these two fields of creation, they imbricate and influence each other, questioning the limit between the disciplines. The matter, in the heart of the realization, at the heart of the production, kept in its rough aspect like a trace of the object’s history, enters in audacious and singular compositions revealing its soul and esthetics.
The exhibition Beas-ba to the KKF & rsquo; EAC presents the result of their research and experimentation an area that initially appears to be not theirs. The title also emphasizes phonics, in the spirit of self-mockery of KKF, claiming hollow sincere modesty, has represented for the enrichment connective this opportunity to come to its ranges, learn alphabet in a center of art such as Concrete Art Space.
Immersed in the aesthetic universe of geometric abstraction, the artists, in an instinctive Production, founded, not on an intellectual and theoretical research, but on direct and sensitive encounter with the works, have retained the issue of color, of the line, du volume, vibration and repetition.
Echoing these characteristics of concrete art, they have created four large-scale works, from materials found locally, in construction sites and businesses of Mouans-Sartoux and the same EAC. Their title, – The baguettes, The doors, The yellow columns, The cells -, the connective chose soberly reduced to a descriptive function, echoes the objective of Concrete Art, as was stated by Theo van Doesburg in 1930, to bring the work to itself by reducing its elements to basics.
Plastic of KKF also created at the residence two videos, which, despite the rejection of this support by Gottfried Honegger who wanted a direct relation to the work of art, are presented as witnesses of the identity and spirit of the connective.
If abstraction and conceptual art appear very far from the creation of connective KKF, claiming a reading immediacy and seeking to bring art to its primary function of link building, connection, the use of the theory, however, reveals meeting points, notably on the question of the reception of the work and that of the creative process :
– indeed, design Honegger, "Learn to look, because looking is a creative act ", asking the philosophy of EAC, direct resonates with the principle of the connective KKF, for which "the creative gesture begins in the eyes of the one who wants to see". The real parallel results in the place given to the public by both the EAC, which seeks to educate vision, by the KKF, which induces one hand the viewer to change perspective on their surroundings and makes the other hand frequently enter his artistic proposal ;
– Furthermore, the declaration of Theo Van Doesburg, concrete art that produces a "concrete and not abstract painting, because nothing is more concrete, more real than a line, a color, a surface ", Place the material at the heart of creation. A reconciliation can thus be operated with the creation of KKF through the affirmation of matter, which, even for different reasons, proves paramount in both creative process.
Revisiting the concrete art collection EAC, the KKF conducted experimental work but eventually created, In the same manner as for his own achievements, according to a principle of adaptation, that artists usually practice in relation to the matter, and which is applied here vis-a-vis a collection and movement of art history.
It is in this sense that the connective KKF, in accordance with the article 3 Manifesto stating that "the table has no meaning other than himself", chose specifically for this exhibition not to write notices of works that are usually part of the principle of creation and connection.