Page 27 - Studio International - August 1966

tribute to a great teacher from the Bauhaus, Johannes world of little cut-out puppets is a wry, often witty
Itten; the Dutch to Constant, the co-founder of COBRA, comment on urban identity where clothes in particular
engaged since 1956 on the multiple creation of his rather make the man. Martial Raysse — in a French Pavilion
hearty fun-city ambience, The New Babylon. shared by the dismal abstract-expressionism of Schneider,
Pop art (one always hesitates to use the term, but a show of Victor Brauner (which his death in March has
there's no other) erupts only occasionally, most interest- turned into an obituary), and massive, elaborately
ingly perhaps in the work of Sweden's Fahlström, whose gouged and pitted sculpture by Etienne Martin which
seems curiously un-French in its Nature-romanticism —
looks smooth, proficient but a little tricksy; his pop-
imagery is only given force by techniques which are
basically Parisian belle peinture in terms of furry textures.
The instinctive fine taste of the Japanese survives in
Ikeda's colour-printing, but takes a severe beating in a
thoroughly vulgar Rainbow environment by Ay-o, while the
instinctive bad taste of Austrian surrealism is given a
riotous outing in Curt Steuvert's shop-window show-
cases, as morbid as they are ultimately banal. In the
German pavilion Gunter Haese's delicate and attractive
watch-spring constructions are contrasted with satirical,
rather brutal paintings by Horst Antes which, with their
compacted figures—all head, hands and feet but no body—
suggest a kind of Chagall with teeth. It is a relief to turn
from these to the admirable new Brazilian building,
where Camargo's white sculptures and reliefs impres-
sively exploit the play of texture and light in splintered,
angled surfaces which manage to be simultaneously
lively, varied and strangely calm.
q

Martial Raysse with his Seven movable Above
elements 1966—'La connaissance du visage Paysage a géometrie variable et a MKM heure,
Two of Camargo's sculptures
permet une programmation émotionnelle des 1966, by Martial Raysse, whose mixed-media
of white-painted wood standing
elements particuliers. La bouche a Los paintings and neon objects were awarded
Angeles peut-etre' a painting prize. in the new Brazilian Pavilion