Art@Site Jean-Pierre Raynaud Untitled

Jean-Pierre Raynaud



Akebono-cho, Tachikawa-shi
This artwork first comes as a shock. This is not possible. This is not a flower pot.
The work is a big. This is uncomfortable. Suddenly, I shrink. The people around me seem to be dwarfs. The impressive buildings are suddenly toys.
I am confronted with an artwork that is not beautiful. A flower pot is perhaps one of the most functional objects in the home. This pot has no aesthetic value, while it could give the plant some decorum, couldn’t it?
This flower pot is laughing about itself. Isn't that the essence of humor: make yourself look ridiculous? This artwork is not a monument, is not aesthetically pleasing, does not have a compelling message ...
What Untitled by Jean-Pierre Raynaud does instead, it makes you assure and gives you a smile after the initial shock.
By Theo,

Dit kunstwerk komt eerst als een schok. Dit kan niet. Dit is geen bloempot.
Het werk is groot. Dit voelt ongemakkelijk. Ineens schrompel ik ineen. De mensen om mij heen lijken nét dwergen. De imponerende gebouwen worden ineens speelgoed.
Ik word geconfronteerd met een kunstwerk dat niet mooi wil zijn. Een bloempot is misschien wel het meest functionele object in de huiskamer. Deze bloempot heeft geen esthetische waarde, terwijl het de plant toch iets van decorum had kunnen geven?
Deze bloempot lacht zichzelf uit. Dat is toch de essentie van humor: jezelf belachelijk maken? Dit kunstwerk is geen monument, is niet esthetisch behaaglijk, heeft geen gewichtige boodschap ...
Wat Untitled van Jean-Pierre Raynaud wél doet is je geruststellen en een glimlach geven na de aanvankelijke schok.
By Theo,
Jean-Pierre Raynaud fetishistic themes are: street signs, plant pots, white ceramic tiles with black grout, flags and currently paint pots. His sources of inspiration become symbols and are developed in a variety of forms and colours.
Glacial and distant, his work is a vision of the world, cruel indeed, but located beyond anguish and violence: the man is absent, and "nothing here", as Alain wrote Jouffroy, "is not expressed, but everything is shown ...".
The red flower pot filled with cement (and therefore unusable), exposed in large numbers and carried out on various scales (including 8 copies of 1.80 m in height and 2 m in diameter, including a figure at the National Museum of Modern Art of Paris), becomes a sign devoid of any expressiveness.
In 1972, Raynaud introduced the four-color process (red, green, yellow, blue) to reproduce, on life-size panels, the components of the Renault "4" van and road signs. His Funerals (1973), coffins, crucifixes and votive plates treated in four colors are closer to the violence of his early works.
After graduating in horticulture in 1958 and completing his military service in 1961 , he made works out of forbidden senses and flower pots filled with cement and uses white ceramic tiles with black joints. These will quickly become the hallmark of the artist. The strong signs of society will be part of his work.
In 1964 , he exhibited at the Salon de la jeune sculpture in Paris . In 1965 , he made his first personal exhibition at the Jean Larcade Gallery in Paris and in 1966 at Mathias Fels. He participated in the IX Biennial of São Paulo in Brazil in 1967, in 1970 and 1973 at the Alexandre Iolas Gallery in New York . He is quickly called to expose to the four corners of the world. In 1975, he made the stained glass windows of the Noirlac abbey.
In 1969, he began building his own house in La Celle Saint-Cloud , which is his main work of art. It will be twenty-four years of research on space. In 1993 , he decides to destroy it and exposes the pieces of the house in surgical containers at the CAPC Museum of Contemporary Art in Bordeaux . The film of Michelle Porte , The House , testimony of the event, will be screened on this occasion. He represents France at the Venice Biennale the same year and receives the honorary prize.
He built the Mastaba in 1986 in La Garenne-Colombes , second architecture inhabited by the artist, who since 2009 belongs to the municipality. The site hosts a permanent exhibition of works by the artist and also offers an animation cycle with lectures on the arts, readings, music and theater.
In 1986 , he received the grand prix of sculpture of the city of Paris. He realizes the Chart of Heaven in the four patios of the Grande Arche de la Defense , 1,600 m 2 in white marble and black granite.
In 1989 , he received the commission of a work of art for the celebration of the fiftieth anniversary of the CNRS in Paris.
In 1991, the International Center for Contemporary Art of Montreal presents a retrospective of the artist 1 .
In 1994 , he built a nuclear vault on a ceiling of the Louvre Museum. In 1996, the Cartier Foundation's Golden Pot was exposed in Berlin, suspended at the end of a crane over the Potsdamer Platz shipyard. Then, he exposes it three weeks in Beijing, in the heart of the Forbidden City.