Bernard Aubertin French, 1934-2015
Tableau Clous, 1968
Mixed media on wood
50 x 50 x 3.5 cm
Signed and dated verso
Certificate of authenticity by Archivio Opere Bernard Aubertin TCLR86-100075523
Certificate of authenticity by Archivio Opere Bernard Aubertin TCLR86-100075523
BIOGRAPHY Bernard AUBERTIN was a member of the Düsseldorf 'Zero Group' of Heinz Mack, Otto Piene and Günther Uecker. His artistic activity took place initially in Paris and then from...
BIOGRAPHY
Bernard AUBERTIN was a member of the Düsseldorf "Zero Group" of Heinz Mack, Otto Piene and Günther Uecker. His artistic activity took place initially in Paris and then from the '70s in Brest and for long periods between Brescia and Verona.
Following a visit to the Paris studio of Yves Klein in 1957, Bernard Aubertin was inspired to follow in Klein’s footsteps and work within the field of monochromy, a style that he adamantly adhered to throughout his career. He chose a vibrant red hue for its compelling dichotomy: on the one hand, it evokes violence as the colour of blood and fire and on the other it embodies an infinite and anonymous purity. In addition, the colour red is also rich in psycho-analytical interpretations and connotations and has peculiar optical effects on the viewer.
During the 1960s Aubertin used his colour red to cover his 'Tableaux-clou' (nail-paintings). Subsequently his practice evolved into the 'Tableaux-feu' (fire-paintings), marking his transition to the ephemeral; the canvas, consisting of matches, lighting up with live and real flame.Thus, the medium of fire effectively becomes the physical manifestation of his chosen colour. Many of the works consist of abstract compositions using matches that were later burned, creating variations caused by the spontaneous nature of flame. The process by which the works are created is inherent in the final product and the viewer can clearly see the charred transformation that took place. In effect, the destructive nature of fire becomes a mode of creation and rebirth. Through his performances of burning paintings, books and objects,
In time, Aubertin also became considered a conceptual and perfomance artist.
Since the 1960s, Aubertin's work has been widely exhibited throughout Europe and the United States. In 1977, Aubertin was invited to show at Documenta 6, Kassel, Germany. In 2011 he showed at the 54th Venice Biennale. In 2012, Aubertin produced a happening of burning a series of fire paintings at the Palais de Tokyo, Paris.
Public collections include
Bibliothèque Nationale de Paris, Paris
Musée de Grenoble, Grenoble
Centre National de l'Art Contemporain, Paris
Rijksmuseum, Amsterdam
Musée de Graz, Graz
Museum of Düsseldorf, Düsseldorf
Museum am Ostwall, Dortmund
Museum Moderner Kunst, Klagenfurt
Archivio della Grazia di Nuova Scrittura, Milan
Museu Coleção Berardo, Lisbon
The Norton Museum of Art, Palm Beach
Museo de Arte Moderno, Venezuela
Bernard AUBERTIN was a member of the Düsseldorf "Zero Group" of Heinz Mack, Otto Piene and Günther Uecker. His artistic activity took place initially in Paris and then from the '70s in Brest and for long periods between Brescia and Verona.
Following a visit to the Paris studio of Yves Klein in 1957, Bernard Aubertin was inspired to follow in Klein’s footsteps and work within the field of monochromy, a style that he adamantly adhered to throughout his career. He chose a vibrant red hue for its compelling dichotomy: on the one hand, it evokes violence as the colour of blood and fire and on the other it embodies an infinite and anonymous purity. In addition, the colour red is also rich in psycho-analytical interpretations and connotations and has peculiar optical effects on the viewer.
During the 1960s Aubertin used his colour red to cover his 'Tableaux-clou' (nail-paintings). Subsequently his practice evolved into the 'Tableaux-feu' (fire-paintings), marking his transition to the ephemeral; the canvas, consisting of matches, lighting up with live and real flame.Thus, the medium of fire effectively becomes the physical manifestation of his chosen colour. Many of the works consist of abstract compositions using matches that were later burned, creating variations caused by the spontaneous nature of flame. The process by which the works are created is inherent in the final product and the viewer can clearly see the charred transformation that took place. In effect, the destructive nature of fire becomes a mode of creation and rebirth. Through his performances of burning paintings, books and objects,
In time, Aubertin also became considered a conceptual and perfomance artist.
Since the 1960s, Aubertin's work has been widely exhibited throughout Europe and the United States. In 1977, Aubertin was invited to show at Documenta 6, Kassel, Germany. In 2011 he showed at the 54th Venice Biennale. In 2012, Aubertin produced a happening of burning a series of fire paintings at the Palais de Tokyo, Paris.
Public collections include
Bibliothèque Nationale de Paris, Paris
Musée de Grenoble, Grenoble
Centre National de l'Art Contemporain, Paris
Rijksmuseum, Amsterdam
Musée de Graz, Graz
Museum of Düsseldorf, Düsseldorf
Museum am Ostwall, Dortmund
Museum Moderner Kunst, Klagenfurt
Archivio della Grazia di Nuova Scrittura, Milan
Museu Coleção Berardo, Lisbon
The Norton Museum of Art, Palm Beach
Museo de Arte Moderno, Venezuela
Provenance
Private collection, Germany.1
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