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/accrochage/avril/2008 L’Atelier Contrepoint |
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Vernissage le 3 avril 2008
à partir de 19 heures Exposition Gravures contemporaines A l'occasion de l'exposition, présentation d'un portfolio réalisé par dix artistes travaillant à l'Atelier Contrepoint. Ensemble de dix gravures signées et numérotées |
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L'atelier de gravure Contrepoint pourrait se définir comme atelier expérimental fréquenté par des artistes et étudiants venus de toutes les contrées du monde, un lieu d'échanges et d'apprentissage. Il succède à l'Atelier 17 que Stanley William Hayter crée en 1927, rue du Moulin Vert, à Paris. Son nom lui vient du 17, rue Campagne Première, où Hayter s'était installé au début des années 30. Nombreux sont les artistes de renom qui y ont travaillé. Ce qu'a voulu encourager développer Hayter, la pratique de la gravure en tant que moyen de création plutôt que moyen de reproduction. Ainsi les artistes se mettent ils à travailler directement sur la plaque, constamment sollicités par de nouvelles expériences et des techniques nouvelles. En 1939, l'Atelier 17 suspendit ses activités à Paris pour les reprendre à New York en 1940. Ce fut alors un important lieu de rencontres des artistes newyorkais et européens. C'est à la mort de Hayter, en 1988, que l'atelier, en hommage au fondateur, devient Atelier Contrepoint, que dirigent Juan Valladares et Hector Saunier. La méthode des couleurs simultanées, les techniques de gravure en plusieurs couleurs sur une seule plaque, par le champ d'action qu'elles offrent, incitent perpétuellement les artistes à innover. La collaboration entre anciens et nouveaux favorise en outre l'esprit de recherche et de création. Chaque jour, un assistant, ou collaborateur-assistant, aide et conseille, mais chacun travaille selon sa propre voie et réalise son oeuvre personnelle. Cette méthode, bien loin d'uniformiser, éveille en chacun son chant singulier, suscite la découverte par l'exercice pratique; par le fait de vouloir mettre soi même la main à la pate; de développer le jugement en même temps que la vision; encore permet, parce que nous sommes en un lieu habité la confrontation, la comparution, la comparaison, car il stagit de se mouvoir en vue de l'accomplissement, non pas de se livrer à la compétition. Et l'accomplissement n'est pas dans la production du chef-d'oeuvre, mais dans la révélation de ce qui était à chacun occulté, ou offusqué par le manque d'exercice. C'est-à-dire que chacun se donne là rendezvous avec lui même pour sa propre découverte, à laquelle sont invités à concourir les autres par leur présence active et dont on peut à quelque moment solliciter le concours, l'aide, l'avis. |
Atelier Contrepoint is best defined as an experimental etching studio frequented by artists and students from all corners of the world. A place of exchange and apprenticeship, it follows in the tradition of Atelier 17 (rue Moulin Vert) founded in 1927 by Stanley William Hayter. The name was derived from its location at 17 rue Campagne Premiere, Paris, where Hayter settled in the beginning of the 1930's. The atelier is best known for the many celebrated artists who worked there and were encouraged by Hayter's insistence that printmaking need not be simply a method of reproduction but rather was a form of artistic creation. The artists of the atelier often work directly on the plate and are constantly seeking new experiences and techniques. In 1939 Atelier 17 suspended its activities in Paris and moved to New York in 1940. There it became an important meeting place for both European and American artists. In 1950 Atelier 17 was reestablished in Paris. Upon Hayter's death in 1988 the atelier, in tribute to its founder, was renamed "Atelier Contrepoint." It is directed by Juan Valladares and Hector Saunier. The method of simultaneous color printmaking, an etching technique involving several colors on the same plate, offers increased possibilities for experimentation and innovation. Collaboration between experienced and novice artists creates a spirit of creative research. Each day an assistant or collaborator/assistant helps and advises the artists. However each works according to his own rhythm and creates his own personal works of art. This method, far from promoting uniformity, awakens in each individual their own particular "song". It welcomes discovery via practical experience - by each one wanting to get their hands dirty. It develops judgment at the same time as vision; still allowing (because we are in an environment which is used to confrontation) appearances and comparison. This method is driven by achievement which has not been delivered over to competition. The achievement is not in the production of a masterpiece, but in the revelation of what each artist has conjured up, or obscured by their lack of expertise. Which is to say, that each one makes their own discoveries in this meeting with themselves -- a meeting to which others contribute through their active presence and therefore at any moment one can call upon other collaborators for their observations, help and advice. |
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[Atelier 17] In its various manifestations Atelier 17, founded by the English print-maker Stanley William Hayter, was to have a profound impact on print-making around the world, not least in Latin America. Hayter first established the print studio in Paris in 1927 and his emphasis on the creative rather than the reproductive aspects of the medium soon attracted a diverse range of artists including Max Ernst, Alberto Giacometti, André Masson, Wolfgang Paalen and the Chilean Luis Vargas Rosas. In 1940, after the outbreak of World War II, Hayter abandoned the Paris studio in favour of New York but kept the name Atelier 17. His innovative approach to technique and the atmosphere of collaboration and cooperation he fostered again drew in artists of many different artistic inclinations. Emigré surrealists such as Salvador Dalí worked here as well as many young US artists including Robert Motherwell, Mark Rothko and Jackson Pollock, and, among the Latin Americans, Wifredo Lam, Rufino Tamayo and Matta. While in New York Hayter continued to experiment with printing techniques including the use of coloured viscose inks that allowed several colours to be printed simultaneously. In 1950, in the Atelier's third and final move, Hayter transferred back to Paris. His reputation, enhanced by the publication in 1949 of his extraordinarily successful "New Ways of Gravure", ensured that once again the Atelier became a honey pot for young artists keen to work in Hayter's inspiring orbit. Although his own output tended towards surrealism that of his students was enormously varied as can be confirmed by comparing the prints of two artists represented in UECLAA, the Brazilian Lívio Abramo and the Chilean Nemesio Antúnez. Both worked in the Atelier 17 in the early 1950s and returned to establish influential print workshops in Latin America: Abramo founded the Julián de la Herrería workshop in Asunción, Paraguay in 1957 and the Estudio Gravura in São Paulo in 1960, and Antúnez founded the Taller 99 in Santiago de Chile in 1956. Several UECLAA artists, including Juan Bernal Ponce, Guido Llinás, Angelica Caporaso, Cristina Santander and Julieta Rubio also worked in the Atelier 17 in its second Parisian incarnation. In 1988, on Hayter's death, the studio was renamed Atelier Contrepoint and continues to promote experimental print-making under the direction of Peruvian-born Juan Valladares and Argentinian-born Hector Saunier. Valerie Fraser |
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Exposition Art and the Printing Press 2007 / L’Arte e il Torchio
2007 Paris 1927 /2007 – “From Atelier
17 to Atelier Contrepoint” |
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Atelier Contrepoint Tél: +33 (0)1 45 43 85 01 |
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© le cabinet d'amateur