Claude Viallat

Claude Viallat catalogue published only in Japan on the occasion of his parallel solo exhibitions held at Gallery Itsutsuji and Sagacho Exhibit Space, Tokyo, in April-May, 1992, following his systematic abstraction with one shape affixed on canvas without stretchers. Illustrated throughout in colour and black and white with installation shots of each exhibit, plus reproductions of each painting exhibited, along with a biography and further texts (in Japanese).

Claude Viallat is a French artist born in Nîmes who, in 1955, joined the École des Beaux-Arts (Fine Arts School) in Montpellier, where he met André-Pierre Arnal, Vincent Bioulès, Daniel Dezeuze, Toni Grand, François Rouan, and Henriette Pous, whom he married in 1962. As soon as 1963, he was attracted to abstraction. He was appointed as a teacher in the École des Arts Décoratifs (Decorative Arts School) of Nice in 1964 and decided to create a new formal language questioning the conventions of classical painting. He then started working systematically with one shape affixed on canvas without stretchers. His first personal exhibition took place at Nice’s Galerie A in 1966. In 1967, he was appointed as a teacher in the École des Beaux-Arts (School of Fine Arts) in Limoges, where he met Raoul Hausmann. In the late 1960s he was central to the formation of Support/Surfaces, perhaps the most under-recognized French art movement of the twentieth century, Supports/Surfaces emerged amid the intellectual and political upheaval of 1960s France, on the cusp of modernity and postmodernity. Steeped in the philosophy of Derrida, Lacan and Barthes, and inspired in their political militancy by figures such as Marx, Freud and Mao, 15 artists from the South of France converged around a shared ideological and artistic goal: the dismantling and demystifying of the painting as object, both physically and philosophically. Artists such as Louis Cane, Daniel Dezeuze, Bernard Pagès, Patrick Saytour, Claude Viallat, André-Pierre Arnal and Noël Dolla explored the physicality of the painting’s stretchers and canvases, deconstructing it so as to question and reaffirm the medium and its implications.

* Condition: Good (light wear/marking to cover, otherwise tight, clean internally throughout) – All care is taken to provide accurate condition details of used books, photos available on request.

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Claude Viallat - Catalogue (1992)
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