at la MAISON ROUGE in PARIS
If you should see only one exposure to Paris, in this moment, I advise you without hesitation the retrospective of the police chief Anne Tronche, on the Japanese Testsumi KUDO, at the Red House.
?Starting from Hiroshima, the history of the life did not change a direction for the men, it lost his direction....?Pierre Restany extracted, p.38, of ?the mountain that we seek is in the greenhouse? of Anne Tronche Fage editions
?Touched in the middle? without passing by the box comprehension, it is the first fulgurating feeling which invaded me and which persists a few weeks afterwards.
It is well readily that I make a distorsion with the rules of Be-Art evoke only the ?alive ones? but the absolutely remarkable course of Anne Tronche clarifies the extreme universal contemporaneity of this splendid artist.
I noticed that it is enough ?breakage mouth? to propose retrospectives of conceptual installations. They appear either dated - ex Tony Oursler in Jeu de Paume, or technically exceeded - ex: neons of daN Flavin to the Museum of Modern art of Paris.
Here, the artistic proposal of Kudo is so intimate, rough, that it touches us in the middle of the years later, becoming in fact universal. The passage of time on the work of Kudo, embellishes it, gives him probably a higher dimension, than perhaps, Anne Tronche which one feels that she knows the least subsoils of the artist, did not perhaps even suspect.
The way that she proposes to us is like an obviousness, it follows the torments of the creator, until his end.
It begin with the major revelation from Kudo ?the universal impotence?. Chrysales/emmaillotés penises of black fabric hang with the ceiling and paper all the first part of the prarcours. A little soft but held, invading but not turgescent, the male sex is there in all its paradox, very powerful but quite impotent at the same time. ?We are enracinnés on ground by our sex? tells us Kudo. It creates the life but death too. Topic which haunted many philosophies and will continue as much as the ground will turn.
But this permanent topic, almost boat, are lived by Kudo like a revolt, as a political proclamation which makes it hyperactive, violent, cynical, of a rare perspicacity on the world. To express is a means of surviving. Creation is a breathing without what it would be asphyxiated, but more it shows, shows, expresses, more it becomes clear-sighted and is choked even more.
The other broad topic is that of the metamorphosis of the chrysalis, beautiful metaphor for us same. The chrysalis metamorphoses itself ineluctably but can create horror or beauty. There too this topic that we feel a whole day or the other, Kudo makes of it a powerful act which becomes a proclamation ?my conscience apolitical guided my action? tells us Kudo.
A black room puts in scene estival elements, a parasol, a coffee table, glasses, and deckchairs with the colors fluos on which dry of clothing and the emaciated hands, of the residues of humanity. One raises the eyes, in vain, by seeking the hearts which would float.
A little further it takes on board us in his long series of portraits which it will call ?your portrait? or ?your portrait? made up of pieces of us same: eyes, fingers, hairy nose, oozing sexes, various objects. The whole is a mirror without concession of what we do same of us.
Another sublime space proposes ?grafted garden?. On the nourishing earth ground of the flowers are with half faded and dégoulinent because they melted. The flower is stopped Net in its beauty and of the human members torn off by the explosion transform themselves into branches of trees.
To finish the artist, at the evening of his life, proposes to us an human being made of wire of colors which fray with craniums with same the ground and a parapluis holds by wire of the ?testicles? which fly away, it is the end.
A small covered grass coffin and flowers finish the course, the life starts again and the same questions will rest.
All description is terrible of course, but this installation curiously mixes death and survival at all costs and oddly it is not the morbid one or the dislike which dominate but an unsoundable poetic fascination.
Thank you with Mrs Tronche to make revive this splendid poet.
April 14th, 2007
Essential to get to you for the Red House the work of Anne Tronche ?Tetsumi Kudo, the mountain that we seek is in the greenhouse? 20?/Fages editions
Not to miss the documentary one on Kudo, about 20mn
French Version - Up