Méta-Art, s. d. – around 1969. 4to in original stapled pages, with minor rust stains from the staples. 10 unpaginated pages including covers. Very good, excellent condition the fragility of this considered. 1st printing, very rare! / ‎Édition originale de cet ouvrage de poésie visuelle, tres rare!

Christiane Frougny is professor in computer arithmetic and more. Jean-Claude Moineau: Born in Reims, 1944, artist, fluxus related art theorist, concrete poetry distributor, mail art and more. The two artists also both contributed to the the experimental art magazine Geiger in the late sixties. After studying mathematics and music, J.-C. Moineau developed, in the 1960s, many artistic activities focused on conceptual art, visual poetry, the event, performance and mail art. Co-founder of the loosely organized Meta-Art group (artist Yves Charnay, the writer Claude Portail, the composer Georges Aperghis, the pianist Gérard Frémy, the mime Luc Boyer and Christiane Frougny) the “interdisciplinary group with variable geometry” whose activities leaded from the axis of that not just that “everything is art”, but “everything” can be used to make art, to generate art “. With Paul-Armand Gette he was involved in creating the assembly magazines Eter and New Ete – sometimes regarded as the earliest example of the assembling strategy (where the artists themselves are responsible for the creation and circulation of their contribution, which is then bundled into a publication) – four years before the first ‘official’ assembling with that name, published by Richard Kostelanetz in New York (1970). Vostell’s Decollage magazine and the Danish TA BOX issues also belong in this group of early experiments in the field of the artist’s book. In May 1968, Jean-Claude Moineau, being mathematics teacher at the Faculty of Science of Orleans University, he organized the occupation of the university library where he was exposing the documents about the art of the present (then) time. He created a critical think tank, the GRRRR [Group of Research and Realization of a Revolutionary Reflection] and a magazine, “Ne Coupez Pas”, opened, despite their extremely limited means, to political reflection, reformism on pedagogy, visual poetry and typography and layout experiments (Ne coupez pas, open, despite extremely limited means, to both short- and long-term political reflection and to visual poetry and experiments in typography and layout, including perforation and folding of pages) . Their activity continued until the following year with the organization of the Permanent Festival of Experimental Poetry on the university campus. In 1969 he was tranferred to Paris VIII to teach art and theory of art (untill 2008). Short after that he abandoned his artistic activities to focus on theoretical. His artistic activity is very rich but very brief and takes place mainly between 1965 and 1969. Untill today he continues to be an unparalleled exponent for understanding the spirit of the avant-garde. Moineau is also author of artist books and sound works and made numerous exhibitions, both individual and collective, and performances in Paris, France, “and abroad”, and collaboratin various French and international magazines (such as Approaches). He has been an advisor to the XV Biennal de Paris (2006-2008). Selected bibliography: (artistic creation) Version of concert, 1968; Mathématique de l’Esthétique, 1969, Lecture Rapide, 1969. He published (art theory) L’Art dans l’indifférence de l’art (PPT, 2001), Contre l’art global: Pour un art sans identité, Retour du futur: L’Art à contre-courant and Queeriser l’art (Presses du réel, 2016). “I was founding, with various friends including the visual artist Yves Charnay, the writer Claude Portail, the composer Georges Aperghis, the pianist Gérard Frémy, the mime Luc Boyer… the interdisciplinary (or should we have said “meta-disciplinary”?) group with a variable structure, Meta-Art, meta-art being, like the positioning of Aristotelian metaphysics in relation to physics, even though, contrary to the current resurgence of metaphysics, we ourselves intended to try to move beyond metaphysics as much as possible… both what was supposed to come “after art,” after the death of art, simultaneously observed, announced, and perpetrated by the avant-gardes … and what “dealt” with art, my aim then being to overcome the observation According to this view, following a somewhat hasty interpretation (which Arthur Danto would later dispute) of Duchamp’s contribution, everything could now be considered art (just as art itself can be considered as if it were not art), which tended to paralyze all new artistic creation. Whereas, in my opinion, not only could “everything” be said to “be” art, but “everything” could be used to make art, to generate art, and, in particular, existing art itself. Everything, starting with existing art, properly (de)coded (in accordance with the enthusiasm of the time for the question of the code), could be used as a score in the musical sense (always, as for Fluxus, the musical paradigm!), as a score in the manner of George Brecht or the scores of Earle Brown from the paintings of Pollock… to generate art or poetry, everything around us being able to be used by everyone as a score to generate new artistic or poetic artifacts (thus, in Arras, in 1969, as part of Noroit 1, we, “public” included, took as a score a police officer directing traffic on the public road, which, as is fitting, since every piece must foresee how it ends, ended, again “public” included, at the police station).”
(#61094) DKK950.00