LYON, France — Bernar Venet Attendant 2019-1959 is the best aggressive and extensive appearance anytime adherent to Venet, who in 2015 became a Knight aural the National Adjustment of the Legion of Honour, and in 2016 accustomed the Lifetime Achievement accolade from the International Carve Center (ISC). Venet is acclaimed for his monumental, big bucks General Curve carve series, such as the allotment “88.5 Arc x 8” (2012) installed at Gibbs Farm in New Zealand. But for me, these impressive, looming Corten animate sculptures are over-determined and never assume to do the analytic job of acknowledging, protecting, interceding, or advocating for those who ache or blow or comedy beneath them. Perhaps they charge admirers added than admirers charge them.
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But spaciously congregated actuality by babysitter Thierry Raspail is a ahead concealed ensemble of 170 assorted and jarringly inconsistent (quality wise) artworks of beneath ballyhoo — including affidavit of aboriginal absurd and breviloquent performances, some hasty complete works, and his frequently disparaged and absolved allegorical paintings, such as “Related to: Zig Zag Aisle Zuv Amid Nodes U and V in a Planar Mesh” (2001).
Though absorbing as artful development, little in this attendant provides the affluent artful amusement of Venet’s ruddy, decayed sculptures aback beneath the burden of gravitational breakdown, such as the admirable and tragically affected “Arcs in Disorder 11 Arcs” (2014) that appeals to the absurd pessimist in us all. Unified by its beautiful, sensual, decayed blush this thrown-down abortion at captivation rational adjustment seems like a appropriate arresting abstruse principle: e pluribus unum (out of abounding one).
This tossed, accidental attending additionally works able-bodied for Venet’s carve “Collapse: Five General Lines” (2009) that animates a accumulation of annular metal forms that aback angular arrayed can attending stodgy. Thus it was a contentment to see at the commencement Venet absolutely advance over, with abundant noise, a accumulation of decayed metal beams that had been accidentally aptitude adjoin a wall. So that they all, but one, concluded up alluringly about abiding on the arena in a carve he calls “Accident” (1996/2018). With that shove, Venet thankfully topples assertive Modernist mandates apropos abbreviation our absorption to the objectness of art.
Less impressively, he additionally man handled afore me some metal, ellipsoidal poles that had been corrective with tar or atramentous paint. Scraping them on the bank so as to leave marks for pieces he beeline forwardly blue-blooded “The beeline band – The article band / The apparatus band / The trace of the band as a actual anamnesis of the artful gesture” (2007). “Collapse: Five General Lines” (2009), “Collapse: 9 Angles” (2011), “Points / Disorder / Dispersion” (2014) and “Random Combination of Points” (2009–2018) all accept a above attending of adventitious lyricism and some adumbration at the alluring structures abaft the music of John Cage. This faculty of analytical whimsy is generally defective in Venet’s public, awe-inspiring arcs, that can feel craned in, plopped down, and pointlessly domineering.
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All of the “Collapse” pieces, which I love, were on the aboriginal floor, for as adumbrated in the show’s appellation Attendant 2019-1959, the works are abiding in a mirrored anti-chronological order, so that we end at his beginnings. I recalled that the aboriginal time I encountered Venet’s assignment was in 1969, at the important Museum of Contemporary Art of Chicago appearance Art By Telephone, curated the new administrator Jan van der Marck to accent the added Duchampian abstraction of art. It was a appearance that as a analytical aerial academy apprentice acutely apparent me.
But as I army the alternating floors, the affection of my art acquaintance descended. (Therefore, I will altercate the appearance now in the acceptable consecutive order, starting with his ancient work.) Following an aboriginal activity of religiosity, area he advised acceptable a missionary, Venet instead in 1959 became a date artisan at the Nice Opera House and in 1961 abutting the French Army area he started to burrow into abstruse art by painting with tar and automated atramentous paint. Attracted by the actual bendability of the blubbery substances, he would let them distill and alluvium bottomward old pieces of cardboard, and sometimes use his anxiety to apply them around; à la the gestural appearance of Gutai artisan Kazuo Shiraga’s bottom paintings from the mid-1950s.
This adjustment of ambidextrous with actual actuality bald of any abetting symbolic/poetic association, set his aisle appear the affliction of all accessible worlds: authoritarian reductionist solipsism after a adumbration of anapestic or political metaphor. Venet’s self-stated ambition was to according to the columnist release, “remove any anatomy of announcement independent in the artwork in adjustment to abate it to a actual fact.” He able this goal, which, for me, plunged him into an bind of candid futility.
This bind still pervades his art-as-object approach, chain with what I see as bartering bazaar pessimism. Modern art for him was and is aloof big, complete being like the shiny, garish, gloppy, awkward spray-paint assignment “Cardboard Relief” (1965) that followed up on his 1963 alternation of atramentous monochromatic tar paintings, which eschewed all forms of bottom action. However, these atramentous monochromes, as acicular out by his artisan acquaintance Ben Vautier, came too abutting to those of Ad Reinhardt, whose atramentous carol accumulation for expressionistic painting was already able-bodied underway.
But that aforementioned year, with the anarchic “Black Book” (1963) and “Pile of Coal” (1963), Venet started award his accommodation as a sculptor of the atramentous actual world. To my eye, this “Black Book” and the breezy but affectionate atramentous dump of atramentous accept the tectonic rumblings of a Tibetan chant, at already beefing and pitiable. Particularly, “Pile of Coal” has article about it that cannot be rendered bush by the aggregate of the Anthropocene surrounding it. With “Black Book,” Venet approaches, but never reaches, the complete no-saying of Reinhardt’s advised abstruse pessimism.
In 1966, during a two-month appointment to New York City, Venet’s abstruse and emblematic abnegation was deepened by his appointment with American abstemious Minimalism, and he appropriately congenital it into his “just-the facts-ma’am” reductive style. In 1967, Venet confused to New York to alive at 84 Walker Street, aforetime Jean Tinguely’s studio, and has lived amid France and New York anytime since, alive at the margins of minimalism.
From 1971 to 1976, Venet did not actualize any art at all. I don’t apperceive why, but I assume that his abstruse pessimism, with its acceptance of adamantine realism, compromised him philosophically by declining to locate his art aural a animal context.
In his aerial American Minimalist appearance that followed, Venet’s abstinent out white space, such as with “Position of Two Angles of 78˚ and 41˚” (1977) and “Position of Two Angles of 120˚ and 60˚” (1976). These works do attending alluringly restrained, but for me are aloof too acquired of the assignment of Mel Bochner, decidedly his 1970 Sonnabend appearance 48″ Standards.
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I admiration art that offers a change of complete attitude, a new apple outlook, a about-face in perspective, over classy, affected restraint, so I adopt Venet’s after maximalist “Saturation” paintings that additionally can be actual elegant, as in “Saturation” (2009) (not in the show) and “Bugatti Painting” (2012) or garish, as with “Gold Round with Quantification” (2012) and “Round Assimilation (Gold) with 23 on Top” (2011). This hung-as-diptych presentation was abominably abject by the acuteness of the dejected colorant of the bank on which it was placed. But at atomic in such “Saturation” paintings, Venet’s reductionist abstinent quietism converts to a yes-saying mysticism that plays at the banned of complete clarity.
This assumption of active assimilation was aboriginal acclimated in an aboriginal 1968 achievement allotment Venet presented at the Judson Church area he arrive three Columbia University physicists to address accompanying over anniversary other. This old Tristan Tzara maneuver, able in Admiral Looking for a House to Rent (1916) which involves several bodies account Dada balladry in altered languages at the aforementioned time, was brought aback afresh for the acceptable commencement accent aback Venet, Sylvie Ramond, Raspail and Blandine Chavanne all batten over anniversary added at the aforementioned time. For me, with such use of saturation, Venet bidding a Dionysian cynicism of backbone and joy, a yes-saying to the blowzy apple as it is, admitting the blah argumentation of “Position of Two Angles of 78˚ and 41˚” (1977) I’ve now apparent added than already — and I didn’t charge to see it in the aboriginal place. I apperceive that activity is like that (factual) and activity is adamantine and is carefully abstinent out.
At atomic in “Round Assimilation (Gold) (2012), aggregate seems destined for a affectionate of active oblivion-obscurity.
Finally, on the way out, I alternate to “Indeterminate Line” (1984) on the aboriginal floor. It addled me as the finest allotment in the show, as the object-hard artful attitude taken by “Cardboard Relief” (1965) and “Position of Two Angles of 78˚ and 41˚” (1977) is undone.
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“Indeterminate Line” shows that Venet’s antecedent aim of authoritative self-referential art carefully bare of announcement is always negated by his after works that entail the alive activity of general lines, accidents, accidental combinations, and dispersions. Thus there is an agreeable alertness actuality in which his aboriginal art of factual, inexpressive, neutral, depersonalized cynicism was absolutely alone the abortion to brainstorm a abstruse indeterminacy yet to emerge.
Bernar Venet Attendant 2019-1959 continues at Musée d’Art Contemporain de Lyon through January 6. The exhibition was curated by Thierry Raspail.
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