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Claude Viseux (1927-2008) Flèche mobile 1986 Steel sculpture…
See original version (French)
Claude Viseux (1927-2008) Flèche mobile 1986 Steel sculpture…
See original version (French)
Lot no. 122
Description
Claude Viseux (1927-2008) Flèche mobile 1986 Steel sculpture painted black, signed and dated on the base H. 57 cm L. 12 cm Claude Viseux was born and grew up in Champagne-sur-Oise, near Paris. In 1946, he studied architecture at the École des Beaux-Arts in Paris. He then met Jean Prouvé and Constantin Brancusi, and finally decided to turn to painting.
His success was almost immediate, with his first exhibition at the Galerie Vibaud in 1952, and by 1955 his works were being shown at René Drouin, before Daniel Cordier chose him - for his very first exhibition! - in 1956. In 1957, he was honoured by Léo Castelli in New York!
From 1959-1960, he created his first sculptures using objects found by the sea, impressions of stones and seaweed cast in bronze, then industrial steel cut, assembled and welded in the style of his surrealist friends Max Ernst, Man Ray, Henri Michaux...
In 1972 he represented the French pavilion at the Venice Biennale alongside Christian Boltanski, Jean le Gac and Gérard Titus-Carmel, where he unveiled his famous Instables series. That same year he installed a huge stainless steel sculpture suspended in Auber RER station in Paris. In 1977, to mark its 50th anniversary, the Musée d'Art Moderne de la Ville de Paris organised an exhibition entitled "Viseux" from June to September. During the 80s and 90s, he travelled extensively in India, whose myths and traditions are subtly reflected in his drawings and collages, and their influence is reflected in his sculptures.
A year before his death, while living in Anglet - still close to the water - Claude Viseux continued his collages mixing the marine world and industrial forms, disturbing echoes of the Expériences automatiques du crabe - from the 1950s - and the sculptures that mark out his career.
In the words of Geneviève Bonnefoi: "Through such diverse research, we can discover a surprising continuity in Viseux's work, an indisputable mark of his personality and temperament. He is one of those artists with a passion for technique and knowledge who tend towards a total art, the only one capable of expressing the different aspirations of modern man".
A perfect illustration of this last sentence, there is no doubt that the work presented here would have had a place in the exhibition just held at the Musée d'art moderne de la ville de Paris: L'Âge atomique, les artistes à l'épreuve de l'histoire.
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