brut frequencies: eco-aesthetic manifesto #1
curator: pascal pique
This time, Christian Berst entrusts Pascal Pique—art historian and critic, curator, researcher, and founder of the Musée de l’Invisible, an instance of creation and research dedicated to the relationship between art and the multiple forms of the Invisible—with the curatorship of the exhibition in his second space, The Bridge. On this occasion, about twenty contemporary and brut artists will be presented.
Everything is energy, vibrations, and frequencies. Including artworks and their images. The exhibition Brut frequencies explores this little-known and underestimated reality. In the manner of an amateur cabinet or an alchemist’s laboratory, it brings together works of aboriginal art, creations of mineral and vegetable nature, art brut, and contemporary Western art.
The reality of the frequencies and energies of art remains unexplained and unseen because it is not very conscious and practiced, difficult to quantify and measure by our senses, our technologies, and our current knowledge.
It was not always so. Notably in the root cultures of the primitive arts which developed in a symbiotic relationship with nature. It is also the case with art brut, not subjected to the conventions of the dominant cultural filters nor to certain principles of rationality.
This is why Brut Frequencies also has, as its Ariadne’s thread, the Invisible that connects us to the deep nature of things through metagenomics, mediumship, or visionary mantics. Even mental otherness. In an experimental proposal more exoteric than esoteric, since it is here more a question of revealing to give again access to these dimensions than of keep ignoring them or to occult them by ignorance or condescension.
Reconsidering the so-called art brut under the vibratory angle while widening its spectrum to the wider creation allows the unveiling of an essential dimension of art: its cosmological connection. Once the frequential reality of works and images is taken into account, a completely different landscape of art and creation is revealed. Other dimensions appear and unfold.
But the frequential stake is not only to feel and to reveal. It involves fluidifying and balancing, that is to say, taking care of the multitude of frequencies to which we are exposed through synchronization and harmonization. Whether they are human or non-human.
It is also the stake of this collective exhibition, which claims a priority: the reconnection to nature, that of the things and ourselves, by a renewed experience of the artworks and their images.
Gallery artists and guest artists: Basserode, Julius Bockelt, Charley Case, Philippe Deloison, Fernand Desmoulin, Jean-Luc Favero, Xie Hong, Hamish Karrkarrhba, André Hemelrijk, Arthur Lambert, Anaïs Lelièvre, José Lepiez, Sandra Lorenzi, Myriam Mechita, Paul Nabulumo Namarijnmak, Daniaux & Pigot, Isabelle Perú, Olivier Raud, Yuichi Saito, Erik Samakh, Lia Anne T, Vladimir Skoda, Wiktoria, Henriette Zéphir and Mother Nature.
More than twenty years ago, Harald Stoffers began a fictional correspondence with his mother, in which all the letters started with «Liebe Mutti». He began this exercise at a workshop for people with disabilities at which he worked. He started by distributing them amongst his fellow workers in the form of small torn notes. Stoffers’ letters later thickened, some even reaching ten meters long. Presented in a film by Youssef Tabti at the Grand Palais in 2009, his work was included in such prestigious institutions as the Mona (Australia), the Hamburger Kunsthalle (Berlin), the Oliva Creative Factory (Portugal), the Dox Art Center (Prague) and the Maison rouge (Paris).
A significant number of his works was donated to the Centre Pompidou collection in 2021.
For half a century, French mediumistic artist Henriette Zéphir devoted herself entirely to her “inner guide”, for who she never stopped creating. Her drawings have us captivated in their singular overall composition, but also in the force of their details. Somewhere between pointillism, geometric abstraction and Fauvism, her work reflects an enlightened modernism. Discovered by Jean Dubuffet, as early as 1967 she was presented at the historical art brut exhibition at the Musée des Arts Décoratifs in Paris. Today, her work can be seen among the greatest collections of art brut in the world.
Yuichi Saito is fascinated by popular Japanese shows. At the workshop of Kobe Shu (Saitama), which he has been attending since 2002, he began graphic work around these television programs, methodically writing, in a broad gesture, the title of each of them. His drawings have since then reached a degree of visual abstraction of great intensity. More recently, he has undertaken work on the mo character of the hiragana alphabet: its repetitions reveal his emotional states. His work has been shown in the collections of the Museum of Everything, at MONA, in Tasmania, and during the closing exhibition of the maison rouge (France): L’envol ou Le rêve de voler. An important part of his work has been donated to the Centre Pompidou in 2021.
Born in Beijing in 1959, Xie Hong spent her working life as a librarian. To alleviate her chronic depression, she began, in 2007, to draw compulsively. For the following two years, the mere fact of spending several hours daily on drawing, allowing her hand to run over the surface of the paper, relieved her suffering and brought her some well-being. By 2009, her lines were gaining in fluidity and regularity, but she had no control over her compositions. While she was drawing, she had the impression that her mouth “was full of beans that she had to chew.” In 2010, she found it difficult to continue her creative activity and for a short period her motifs began resembling cellular divisions,[…]
A member of the renowned Goldstein workshop in Germany, this young artist is fascinated by the limits of perception. In his work, sounds, vibrations, waves and interferences are rendered visible. Bringing together observation and poetry, network structures emerge and create striking optical illusions. Exhibited in a gallery for the first time in 2020, Julius Bockelt has already been offered a monographic exhibition at the Folkwang Museum in Essen and has been presented at the Museum of Everything (London), the Maison rouge (Paris) and the MoNa in Brierdale (Australia). In 2023, he was exhibited alongside Gerhard Richter at the Museum Sainclair-Haus in Germany.