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Although from very different origins and cultures, Dogancay (born in Istanbul, Turkey, in 1929) and Villeglé (born in Quimper, France, in 1926) share the same interest in the city. Whereas the first soon felt the need to travel and find out what was happening elsewhere, the second moved to Paris and henceforth participated in the collective "Nouveau Réalisme" adventure. Although Dogancay's art was originally based primarily on conventional pictorial practices -almost exclusively gouaches and watercolours which stand testimony to his numerous journeys- since the mid-1960s he had taken his themes uniquely from images and signs seen on the walls of the cities he had traversed. As of 1949, Jacques Villeglé's art has been based on collecting a world of ready-made "paintings" that are offered to him by "anonymously torn posters" that he sees when exploring the city. Collage [gluing, pasting] in the first case, décollage [tearing down, unpeeling] in the second: these two practices characterize two sets of attitudes that, if not parallel, converge, and summon up a world of colorful icons founded on the theme of the city or images in which it is absorbed into uncompromisingly abstract compositions. The idea of bringing together two leading artists of their generation in the same exhibition aimed to reveal to viewers the similarities, as well as the differences between Dogancay and Villeglé, whose works anticipate, in their own way, the arrival of "graffiti" art as part of the same aesthetic impulse.
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- PublisherPera Müzesi Yayinlari
- Publication date2008
- ISBN 10 9759123452
- ISBN 13 9789759123451
- BindingPaperback
- Number of pages106
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Kolaj Dekolaj Dogancay Villegle / Collage Decollage Dogancay Villegle
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Pera Müzesi Yayinlari, Istanbul
(2008)
ISBN 10: 9759123452
ISBN 13: 9789759123451
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Book Description Condition: New. Although from very different origins and cultures, Dogancay (born in Istanbul, Turkey, in 1929) and Villeglé (born in Quimper, France, in 1926) share the same interest in the city. Whereas the first soon felt the need to travel and find out what was happening elsewhere, the second moved to Paris and henceforth participated in the collective "Nouveau Réalisme" adventure. Although Dogancay's art was originally based primarily on conventional pictorial practices -almost exclusively gouaches and watercolours which stand testimony to his numerous journeys- since the mid-1960s he had taken his themes uniquely from images and signs seen on the walls of the cities he had traversed. As of 1949, Jacques Villeglé's art has been based on collecting a world of ready-made "paintings" that are offered to him by "anonymously torn posters" that he sees when exploring the city. Collage [gluing, pasting] in the first case, décollage [tearing down, unpeeling] in the second: these two practices characterize two sets of attitudes that, if not parallel, converge, and summon up a world of colorful icons founded on the theme of the city or images in which it is absorbed into uncompromisingly abstract compositions. The idea of bringing together two leading artists of their generation in the same exhibition aimed to reveal to viewers the similarities, as well as the differences between Dogancay and Villeglé, whose works anticipate, in their own way, the arrival of "graffiti" art as part of the same aesthetic impulse. Editors: Translator: 106 pages. Seller Inventory # B1806107
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