Art@Site Jean-Robert Ipousteguy Hydrophage

Jean-Robert Ipousteguy



Jardin Tino Rossi
Playing on the limits of good taste
Hydrophage by Jean Robert Ipousteguy makes a fool of every one of us, while we have a glance from afar, have a quick look or examine closely.
Behind a bizarre screen and strange pipes a person is standing. If Jean Robert Ipousteguy is representing himself, would he make a joke about the serious side of artists?
It looks like the screen and the pipes are a strange kind of cannon. Would the person with the distorted cap be a military? Perhaps the outstretched tongue with an egg on it, indicate lust and (fear of lack of) fertility? Would Jean Robert Ipousteguy be critical about manliness and militarism in our society? Hydrophage has unclear bizarre details. It seems that fingers are coming out of the pipes. The arm of the man vanishes and disappears. What do we see after looking closely? The man turns out masturbating. Showing a genital and definitely a masturbating man is a taboo in the artworld and society. Could Hydrophage by Jean Robert Ipousteguy be criticial on the prudishment of ordinary citizen?
Hydrophage by Jean Robert Ipousteguy laughs at the artist, society and the ordinary citizen while crossing the limits of good taste several times.
By Theo,

Spelen op de grenzen van de goede smaak
Hydrophage van Jean Robert Ipousteguy zet ons voor gek, of je nu van veraf kijkt, snel een blik werpt of heel lang kijkt.
Achter een bizar scherm en vreemde buizen schuilt een persoon. Als Jean Robert Ipousteguy zichzelf uitbeeldt, zou hij dan een grap maken over de serieuze instelling van kunstenaars?
Het lijkt of het scherm en de buizen een vreemd soort kanon zijn. Zou de persoon met het vervormd hoofddeksel een militair kunnen zijn? Misschien kan de uitgestoken tong met daarop het ei, duiden op geilheid en (angst voor gebrek aan) vruchtbaarheid? Zou Jean Robert Ipousteguy kritisch zijn over mannelijkheid en het militarisme in onze samenleving?
Hydrophage heeft onduidelijke bizarre details. Het lijkt of vingers uit de buizen steken. De arm van de man wijkt en verdwijnt. Wat blijkt na goed kijken? De man blijkt te masturberen. Het tonen van een geslachtsdeel en zeker van een masturberende man is een taboe in de kunstwereld en de samenleving. Zou Hydrophage van Jean Robert Ipousteguy een kritiek zijn op het preutse karakter van de gewone burger?
Hydrophage van Jean Robert Ipousteguy lacht om de kunstenaar, de maatschappij en de gewone burger terwijl een groot aantal keren de grenzen van de goede smaak worden overschrijden.
By Theo,
Jean-Robert Ipousteguy (Dun-sur-Meuse, January 6, 1920 - there, February 8, 2006) was a French painter and sculptor. Jean Robert took in the fifties as an artist's maiden name, Ipousteguy, his mother was called and since then Jean-Robert Ipousteguy. He grew up in the department of Lorraine in 1938 and moved to Paris. He took a course in painting and drawing at Robert Lesbo Unit at night school. Because he is not a further academic training followed, he was a self-taught as an artist and remained undetected.
After World War II Ipousteguy devoted himself to painting and designed stained glass windows. In the years 1947 and 1948 he contributed to the decoration of the Saint-Jacques le Majeur in Montrouge with two frescos. After moving in 1949 in Choisy-le-Roi he created almost exclusively since 1953 and only sculpture. His style was abstract at first, but turned into a more figurative style, which was influenced by surrealism. As a sculptor, he was due to one of the founders of the Salon de Mai, Henri-Georges Adam, was invited to this important art exhibit.
In 1962 he exhibited for the first time at the Galerie Claude Bernard in Paris. He was invited to participate in Documenta III (1964) and sixth (1977) in Kassel, Germany. In 1964 he represented France at the Venice Biennale and he was one of the winners. In 1984 Ipousteguy was appointed Chevalier de la Legion d'Honneur.
Jean-Robert Ipousteguy returned in 2004 returned to his hometown Dun-sur-Meuse. He died in 2006 and was buried at the Cimetiere Montparnasse in Paris.