French artist François Morellet born in 1926 in Cholet passed away on may 11 2016 (90 years old). Following this, the ScandaleProject decided to dedicate this Insight to the artist who was said to be conceptual.
.Répartition aléatoire de 40 000 carrés suivant les chiffres pairs et impairs d’un annuaire de téléphone, 50% bleu, 50% rouge, 1963
This artwork is part of the early work according to systems. A process is established each time at the beginning to kind of control the artistic process but the « hasard » (chance) is still here so that we can’t expect a particular artwork. Using here primary colors, numbers, and primary shapes, Morellet manages to create an environment. This artwork was first for the 3rd paris Biennial in 1963. In the aesthetics the viewer gaze gets lost. Also it reminds us to pixellisation of later art. Here the « hasard » makes the work, not the artist genius. Also, one can notice that the humour comes from the tool which is use to create the work, the annuary symbol of an era before internet while the « hasard » remind us to the dada movement.
This blue neon light installation was supposed – as few of Morellet’s artwork – to be temporary but occurs to appear on display along exhibitions as « réinstallations » where a second chance was given to them, here at Centre Pompidou in 2011 along with a retrospective.
What can be understand through out Morellet’s work is formula and its experimentations following the basic shapes such as square, line, circle. Using the lines in all forms possible and various material Morellet is considered to be in the early abstract geomertric movement (Piet Mondrian, Kasimir Malevitch, Wassily Kandinsly as fathers of the abstract movement) in the 50’s using first geometrical and mathematics formula. But let’s not consider this to be so serious, Morellet has humour and also plays with « hasard » which occurs in his control systems.
Here we are with our artwork named L’Avalanche, according to random position, neon lights seem to fall on the ground in this ice color .
Here the artist use the space of the museum, designed as a patio and turned one of his painting (Six lignes au hasard, 1975) into third dimensions including six random lines divided to provide a corridor and lead to an artwork from the museum. Each artwork was chosen according to the museum collection to highlight some of their artworks.
Text of Fiona Vilmer writer specialized contemporary art.