CAPC
musée d'art contemporain
de Bordeaux

Jean Sabrier

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Renvoi Miroirique ? 2007

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Acquired in 2009

DVD containing several cartoons such as Furinoir and Fontaine réfléchissant  “La bataille de San Romano” in front of Marsden Hartley’s “Warriors”
DVD, copy  Z  from an edition of  26 arranged from A to Z.

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Born in 1951 in Cestas, Jean Sabrier lives and works in Bordeaux. In the late 1970s, he “worked from images of painting either as reference, quotation or deconstruction”

He took part in several group shows such as Peintures / toiles avec des collages de Michel Mendès France at the Galerie Lambert in Périgueux,  Inside/outside an aspect of contemporary sculpture at the Museum van Hedendaagse Kunst in Antwerp,  La vie au fond se rit du vrai at the CAPC musée d’art contemporain in 2002, and more recently Trahison/Betrayal, an exhibition based on works in the collection.

Jean Sabrier’s works claim a linkage with Marcel Duchamp’s.  The inventor of the readymade truly fascinated the artist, encouraging him to compile an outstanding collection of archives around and about the work of  Marcel Duchamp.  This Duchampian material, reworked in the form of videos and latterly silkscreens on silk, is mainly a challenge involving the juxtaposition and superposition of images and objects.  Renvoi Miroirique, 2007 is a set of video cartoons referring to issues dear to the artist.  For example,  FURINOIR ou Fontaine réfléchissant La Bataille de San Romano in front of Guerriers/Warriors by Marsden Hartley is a video which recreates the installation made by  Stieglitz  with  Duchamp’s urinal for a photograph that had been commissioned from him.  This latter was to illustrate an article by Louise Norton,  Le bouddha de la Salle de bain/The Bathroom Buddha which was published in May 1917 in The Blind Man N°2.   This video work shows a similar urinal in polished steel, set on a stand, on which is continuously reflected the The Battle of San Romano by Paolo Uccello.  The urinal revolves on itself thus giving rise to a series of anamorphoses and optical distortions of Uccello’s picture.  In the background, Marsden Hartley’s expressionist picture is a static shot.    The music of Varèse performed by Boulez  punctuates the shots, which are distant to start with and then get closer and closer to the urinal which has become the mirror of another battle. 

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