İçindekiler | Contents | Contenu
Açılış ve açılım olarak Albert Bitran
11
Albert Bitran, in overture
15
Albert Bitran en ouverture
19
“Şiir mutlak gerçekliktir”
23
‘Poetry is absolute reality’
31
« La poésie est le réel absolu »
39
KATALOG | CATALOGUE
50
CURRICULUM VITAE
142
İçindekiler | Contents | Contenu
Açılış ve açılım olarak Albert Bitran
11
Albert Bitran, in overture
15
Albert Bitran en ouverture
19
“Şiir mutlak gerçekliktir”
23
‘Poetry is absolute reality’
31
« La poésie est le réel absolu »
39
KATALOG | CATALOGUE
50
CURRICULUM VITAE
142
8
8
30
31 ‘Poetr y is absolute reality ’ Clotilde Scordia*
T
* Historian and art critic. 1
Georges Borgeaud, Albert Bitran.
L’Œuvre peint 1949–1992 (Neuchâtel: Ides &
Borgeaud ends with this assertion by Hölderlin. At the time, the artist continued painting and was in the midst of developing the Arcades series he had begun in the late 1980s, which would later occupy him until his death in 2018. Though different serial works would also emerge, all of them shared the same recurring themes: movement, time, space, and chromatic values, with black dominating and shifting towards greys and whites. For Albert Bitran’s first exhibition at Dirimart, viewers are invited to step into the artist’s world, greeted as they enter the gallery by a large photograph taken in his Parisian studio on rue Notre-Dame-des-Champs. At the heart of this immersive, chronological journey, the viewer is introduced to the artist’s various series in an infinite concatenation: Landscapes, Workshops, Grandes Formes, IntérieurExtérieur, Arcades and Black. The artist’s first canvases (the Landscapes series) are already abstract and representative of the plastic research driving the new generation of artists in Paris in the immediate post-war period. In their desire to free themselves from the elders embodied by the tutelary figures of Matisse and Picasso, these young people, painters and sculptors from France and the rest of the world converge on Paris to take part in the adventure of conceiving an art practice between the abstract and figurative. A new plastic alphabet emerges, claiming primacy in the development of a new avant-gardism and in the face of the impasse represented by figuration for certain artists, including Bitran. The time has come to wipe the slate clean of the world’s representative logic in the heritage of a centuries-old tradition, especially in France. The avant-garde of the second half of the twentieth century, of which Paris was the nerve centre, tends towards a new conception of painting that disregards reality and fidelity to human figuration. Paris becomes the
Calendes, 1992), 15.
ALBERT BITRAN
HE 1992 DATED MONOGRAPH1 ON ALBERT BITRAN BY GEORGES
‘Poetry is absolute reality’ | Clotilde Scordia*
30
31 ‘Poetr y is absolute reality ’ Clotilde Scordia*
T
* Historian and art critic. 1
Georges Borgeaud, Albert Bitran.
L’Œuvre peint 1949–1992 (Neuchâtel: Ides &
Borgeaud ends with this assertion by Hölderlin. At the time, the artist continued painting and was in the midst of developing the Arcades series he had begun in the late 1980s, which would later occupy him until his death in 2018. Though different serial works would also emerge, all of them shared the same recurring themes: movement, time, space, and chromatic values, with black dominating and shifting towards greys and whites. For Albert Bitran’s first exhibition at Dirimart, viewers are invited to step into the artist’s world, greeted as they enter the gallery by a large photograph taken in his Parisian studio on rue Notre-Dame-des-Champs. At the heart of this immersive, chronological journey, the viewer is introduced to the artist’s various series in an infinite concatenation: Landscapes, Workshops, Grandes Formes, IntérieurExtérieur, Arcades and Black. The artist’s first canvases (the Landscapes series) are already abstract and representative of the plastic research driving the new generation of artists in Paris in the immediate post-war period. In their desire to free themselves from the elders embodied by the tutelary figures of Matisse and Picasso, these young people, painters and sculptors from France and the rest of the world converge on Paris to take part in the adventure of conceiving an art practice between the abstract and figurative. A new plastic alphabet emerges, claiming primacy in the development of a new avant-gardism and in the face of the impasse represented by figuration for certain artists, including Bitran. The time has come to wipe the slate clean of the world’s representative logic in the heritage of a centuries-old tradition, especially in France. The avant-garde of the second half of the twentieth century, of which Paris was the nerve centre, tends towards a new conception of painting that disregards reality and fidelity to human figuration. Paris becomes the
Calendes, 1992), 15.
ALBERT BITRAN
HE 1992 DATED MONOGRAPH1 ON ALBERT BITRAN BY GEORGES
‘Poetry is absolute reality’ | Clotilde Scordia*
60
60