Page 54 - Studio International - August 1965

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and Takis-who are universally considered to be the
most successful artists of today in Electronic Mobiles
-he had a great admiration for the work of Vasarely.
I asked him why he had entitled the extraordinary
composition-which, as I have attempted to explain,
was composed of sixteen different superimposed
planes and made up of all manner of textures from
hard-edge painting on plywood, fragments of velvet
tapestry, neon lighting-'made in Japan?'
The title of the composition itself is Tableau Turc et
lnvrais emblable. He answered, almost jokingly, that
such modern and technical 'things' were made in Japan
and in fact were more modern than what the American
School of artists themselves were producing. In other
words, he considered that the Japanese were more
advanced as far as form and brilliant chromatic art
expression is concerned. In fact. the Orientals were
working faster and more effectively than anybody else
in exhibiting-·call it cheap if you like'-in the big
stores. 'This', he said, 'I find most adventurous·.
Martial Raysse is constantly on the move. He enjoys

and I will always remember calling on him one day at his working on the Riviera because of the brilliant
big villa at Nice, where I found him propped up on a luminosity and the reflection of 'le grande bleu'. Now
huge bed, cutting out with an enormous pair of and again he returns to New York and Los Angeles
scissors varied pieces of coloured papers, which were because. as he attempted to express it, he gets excite­
to serve as maquettes for the stained glass windows ment from the symbolism over there in this present, far
for the Chapel. too pressing and rapid mode of living
This fascinated Martial Raysse to such an extent that Moser, who is showing at the Galerie Jeanne
he started to take an interest in collages. Thereafter he Bucher, is a Swiss painter, born in Zurich, in 1914.
1 made hurried inventions, playing with the idea of Speaking with him at the opening day of his
Christopher Fremantle compositions of superimposed 'planes'. The most exhibition, he declared 'I was caught, locked inside a
Landscape 1965
Galerie Valerie Schmidt striking picture on view at the Galerie lolas is a play of court surrounded with high walls: and what walls!
perspective and depth: there are no less than sixteen Picasso, Klee, Kandinsky and Mondrian. They were
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Henri Maik 'plans', as they are described in French. And this, he painting. And there was no way to liberate myself.
The canoe 1965
Galerie Anne Colin attempted to explain, was a means of finding a new Their painting was not mine; not the painting I dreamed
definition of space. of. Then appeared Wols, Du buffet and Bissiere.'
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Michel Henricot I told him that I thought his form of art expression was It is obvious that Moser is greatly influenced by the
Tierce 1965 original, to say the least. I then questioned him as to his work of Van Gogh, Rouault and, in particular, of Ensor.
Ga!erie Desbri�te
theory /belief as to the future outcome of present art; What, I asked him, was he currently impressed by as far
4 and what, in particular, did he think of Kinetic Art? as his present pictorial expression was concerned?
Moser
La Marie 1964 He replied that Kinetic Art did not interest him, but I 'The Metro, where one perceives movement and
Oil on paper. 97 x 120 cm.
Galerie Jeanne Bucher found it rather strange that while he dismissed Soto posters travelling between stations,' he answered.
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