Page 54 - Studio International - May 1965

Industrial techniques serve art

Paris Commentary by Michel Conil Lacoste

Since a few years ago an experimental room has been to define their affinities. Maybe. as so often happens.
taking shape within the frame of the Salon 'Com­ they have grouped themselves more from a standpoint
paraisons,' which constitutes one of the attractions of of refusal rather than from what they propose: what
this manifestation. otherwise rather of a mediocre they refuse is what one could call 'the aesthetic of the
general level but welcoming to new approaches. The gallery·, it is also the spirit and the artificial conditions
Salon. which runs through March. has just closed its in which the propositions and collaboration with
doors. but this year the room in question was impres­ architects are often offered to them. Because the
sive enough to leave a durable impression on those who architectural problems do preoccupy them. and they
saw it. Thus. the attention is drawn towards a group work, nearly all of them. in a monumental direction.
of young artists of whom certain are already quite well What brings them together also. but in a positive way
known (such as the sculptors Chavignier. Viseux. this time. is the manipulation of materials and industrial
Cardenas. Kovalski). others less so !1ke the painters techniques (many have transferred their studios into a

A view of 'Compara1sons 65' at Gerard Singer. Bishoffhauser or Boussac. the organiser. factory) and the conviction that this technique of men
the Musee d'Art Moderne de la
Ville de Pans, showing works by but who could get themselves talked about in the of the 20th century (polyester. po/ybeton. ·cocoon·.
Camargo, V1seux and Singer near future. Even if it has not passed unobserved. the welding at high temperatures. etc.) can be used for the
recent demonstration is in fact but a · dress rehearsal· elaboration of beautiful forms. Whether they come
of a more imposing enterprise planned for this summer. from painting or from sculpture. they have faith in form,
God willing, at the Musee Galliera. they have a certain optimism of form.
The origins. the antecedents. the respective evolution This idea may seem commonplace. but is not so in the
of these artists are often very different, and. although technical context where they work. In fact. the use of
the community of the spirit impressed one from the industrial techniques and processes does not start with
moment one stepped in this room, it is rather difficult them and it has been mainly orientated up to now in a
228