Bruno Montpied — Wikipédia

Bruno Montpied is a writer, painter, filmmaker, researcher and mediator of art brut and spontaneous arts, born May 2, 1954 in Boulogne-Billancourt ^{[ first ]} .

After literary studies, Bruno Montpied returned in 1976, in self-taught, with painting and drawing that he has not practiced from the nursery school, having practiced only poetic writing (since 1971). Member of the Denis-Martin group which informally brings together several idle young people brought together their common desire to change their life on the basis of a new sensitivity inherited from the experience of the avant-garde of XX ^{It is} century, he discovered the Super 8 in parallel.

He published his first book in 1977 ^{[ 2 ]} ; The same year, he exhibited his first works at the Luxembourg Museum ^{[ 3 ]} And founded on this occasion, alongside Jacques Burtin and Vincent Gille, the episodic group Zoom Back, Camera ^{[ 4 ]} !

After discovering the surrealist movement in 1974, he was passionate in the years 1976-1980, following his meeting with Joël Gayraud, for the Cobra group and his praise of spontaneity in art, then for the situationist publications which advocate the Realization of art and the end of the economy, finally for Brut Art. The latter leads him to be interested in naive art and rural popular art. Seduced by the idea of ​​a creation that does not need any hierarchy, no license to create, nor any initiation to be able to hatch, it starts in search of unknown popular creators. He will be the revealing of a certain number of new authors little or not perceived in France before him, and will echo other forgotten creators.

First in Super 8, then from the 1990s by the photo, he accumulated documentation and an increasingly large and varied iconography on spontaneous creators. He writes articles on this theme in various specialized journals. From June 2007, he launched and animated a blog on the internet, The subtle dagger ^{[ 5 ]} , in the wake of two journals which he successively edited, The red room ^{[ 6 ] , [ 7 ]} And Immediate art ^{[ 8 ] , [ 9 ]} .

In 2011, he published a book entirely devoted to his research on spontaneous environments, Praise of anarchic gardens ^{[ ten ]} . The same year, he co -written with Rémy Ricordeau the film DIYers of paradise (the chirping of elephants) ^{[ 11 ]} .

In 2015-2016, he founded and directed at the Insomniac editions the collection “La Petite Brute”, devoted to self-taught creators (four titles published). He is also an active collaborator of the journal Frank creation of the Franche Creation Museum, and since summer 2019, of the Art magazine Specification . He also regularly gives chronicles to the magazine Tract .

In 2017, he published in editions du Sandre an attempt to inventory general of spontaneous environments in France, The chirping of elephants . ^{[ twelfth ] , [ 13 ]} .

Over time, it constitutes a collection of brut art, or naive, anonymous or not, or even unusual popular art, as well as creations of singular contemporary artists, the essential being that it is surprised and delighted by works or objects collected.

In addition to these activities, he has continued to paint and expose, both in the context of personal and collective exhibitions ^{[ 14 ]} . He donated nearly two hundred works to different museums in France, Belgium, Spain and Italy ^{[ 15 ]} .

The queen of dead leaves , 2005 ^{[ 16 ]} .

When he started, Bruno Montpied is often working on small formats, acrylic painting – influenced in this by the painters of the Cobra group – then in ink or watercolor, composing automatically, playing by chance and D ‘Various experiments, excavated, complex, sometimes difficult to interpret scenes. Having started at the start of his work with a frequent use of bright colors, sometimes garish, his palette has gradually evolved towards more moderation and chromatic unit.

The drawing, the graphics dominate his work. The pen of the first years are gradually given way to the use of Rotring) and markers of all kinds.

“The realization of my drawings and my paintings obeys a need to play, to live a surprise above all. If I am not surprised, I defeat what I did until the expected effect. It sometimes happens that it is in a destructive moment of anger that the image arranged unexpectedly that I am looking for.

I practice a kind of “over-automatism”. I draw at random, I put in random color, using techniques free of charge, most of the time in an incoherent way, sometimes in anxious way. I retouch, covers again, if that is offended, and leaves at random. Most of the time figures always come in my hand. I try to arouse less immediately apprehendable forms, “abstract”, enigmatic forms, offering various interpretations.

I’m looking for titles for a long time, because I need it at all costs. They must be, for the best of them, titles which strengthen the ambivalent side of the image, projecting the imagination of the contemplator towards fertile dreamlike tracks where his interpretations and those that my titles instill cross, decree themselves And finally walked together.

I have no preexisting “subjects”. Given my way of working. There are themes that come back, when I look at my titles, I realize it. Here are some that I noted in the catalog that I hold from my work: the world of the wonderful: sirens, fairies, small beings, giants, ogresses, references to tales. Night, death, ghosts, specters, circus, clowns, buffoons, pigs, caves, hell, devil, woman, witches, imaginary creatures, magic and magicians ( The magicians too), the animals, the forest. »»

– Bruno Montpied ^{[ 17 ]}

Writings [ modifier | Modifier and code ]

• Journal you Cercle , Reflection editions, Paris, 1977 (under the pseudonym of Julian Silja)
• Mysteries , La Chambre Rouge, Paris, 1984
• Black butterflies , La Goutte d’Eau, Paris, 1991
• Tour de France of a few (unprecedented) odds and ends , drawn apart from the review Gasogen , Cahors, March 1993
• Praise of anarchic gardens , Insomniac editions, Montreuil-sous-Bois, 2011, 224 p., Accompanied by 250 photos of the author Book accompanied by the DVD of the film by Rémy Ricordeau DIYers of paradise (the chirping of elephants) , co -written by Bruno Montpied and Rémy Ricordeau.
• Andrée Acezat: forget the past , Insomniac editions, model: (coll, Montreuil-sous-Bois, 2015, 80 pages, 70 photos of the author (ISBN  978-2-915694-82-6 )
• Marcel Vinsard, man with a thousand models , Insomniac editions, model: (coll, Montreuil-sous-Bois, 2016, 80 pages, 70 photos of the author (ISBN  978-2-915694-92-5 )
• The chirping of elephants: attempt at the general inventory of spontaneous and chimerical environments created in France by popular, raw, naive, eccentric, crazy, Brindezingues, or simply inventive, past, present and becoming, outdoors or under the outdoors earth (sometimes indoors), for the pleasure of their authors and some passing enthusiasts , Editions du Sandre, , 2017, 930 pages, more than 1,000 color photographs (ISBN  978-235821-116-1 ) ^{[ 18 ] , [ 19 ]}

To these books are added texts published in different journals, in particular:

• “Small race in my life” – “summer” – “Dreaming about couples (eleven drawings commented by the author),” Life exactly n ^O 3, spring-summer 1986
• “Bouquet of October 12”, Life exactly n ^O 5, fall-winter 1987-1988

Journals [ modifier | Modifier and code ]

Red room n ° 2 , Revue edited by Bruno Montpied, 1983.

• The red room , 5 issues, 1983-1985.
• Immediate art , 2 issues, 1994-1995

And margin the The red room , Bruno Montpied published the texts of different authors in the collection “La Petite Chambre Rouge” (1984-1985) ^{[ 20 ]} .

Articles [ modifier | Modifier and code ]

Articles by Bruno Montpied have appeared in specialized journals, including Raw Vision , Full song , Art and therapy , Frank creation , Gasogen , Specification , Refractions , Buzz , The Southern Quarterly Review , The libertarian world , LIGEIA , The notebooks of the Institute , From elsewhere , Hidden , Gold at 13 islands , Gardens , 303 Arts , Research and creations , Wonderful , Profane , Tract . Some of these articles have been taken up in The praise of anarchic gardens .

Among the articles not taken up in collection, we can cite:

• “Outsider art, the situationist utopia: a parallel” (“art brut, the situationist utopia: a parallel”), The Southern Quarterly Review , vol. 39, n ^O 1-2, Hattiesburg (University of the South Mississippi), the United States, autumn 2000-winter 2001
• “Liabeuf”, “Les Pipes des Condees à mort”, “Le Carnaval de Belleville” and “Hérold Jeune”, contributions to the book A revolutionary Paris, riots, subversions, anger , on an idea of ​​Claire Auzias, Co -Edition Nautilus and L’Espritté, Paris, 2001
• “Where does Brut Art come from? Sketches for a genealogy of art brut “, Ligeia, files on art n ^O 53-54-55-56, Paris, July-December 2004
• “Unica Zürn, the second child who did not want to grow”, Frank creation n ^O 27, March 2007, Bègles
• “The sculpted woods of Father Fouré”, file with an introduction ( The ghost museum, in order to introduce the museum guide (1919) of the sculpted woods created by the Rothéneuf hermit ), rare documents reissued on the life and work of Father Fouré (of which The Museum Guide ), a bibliography, all illustrated with photos of Bruno Montpied and old postcards, in gold at 13 islands n ^O 1, January 2010, Veneux-les-Sablons
• “The bearded Müller find their father”, in Viridis Candela/The Putaphysical College Publicator , n ^O 17, 146 e.p. [September 2018], Paris, p. 51-62 (ISSN  2425-5629 ) , and above all, on the same subject, we will consult False Romanesque art or popular art brut, the bearded müller find their father in the exhibition catalog The bearded müller. Their enigmatic unmasked sculptor! from the Barbier-Mueller Museum in Geneva in 2020.

Among the popular creators that Bruno Montpied has helped to make known both in France and on the international level can be cited the tailor of Pierre François Michaud ^{[ 17 ]} , or the sculptor and designer Gaston Mouly ^{[ 21 ]} , as well as, other examples, the creators André Pailloux, or Eric Le Blanche whose Montpied was the first to report the painted environment, created in secret, inside his house in Vendée.

He also relaunched information on other forgotten or little perceived creators, such as Father Fouré (the hermit author of the sculpted rocks of Rothéneuf), Désiré Guillemare, Pierre Jain, Maurice Lellouche, Ludovic Montégudet, René Rigal, Antoinette Dumas, Georges Maillard, Paul Fauroux, Alain Sanfourche, Alain Genty, him Buffo, Joseph Donadello, or Jacques-Bernard Brunius (in his relationship with an art not yet defined in his time as “raw”).

He also defended on the occasion, among the very first in criticism specializing in contemporary popular arts, a certain number of creators arranged in singular art like Natasha Krenbol, Christine Sefolosha, Jean Branciard, Raymond Reynaud, the Danish Torsten Jurell, Noël Fillaudeau, Pierre Albasser, Michel Boudin, Marilena Pelosi, Isabelle Jarousse, Guy Girard, Serge Paillard, Jean Veyret, or Marie Adda-Audin and Amadou Ba, dit ”.

To date, an important contribution from Bruno Montpied to the history of art brut, consists in this that he has succeeded in determining the identity of the creator of the series of statuettes known as “Barbus Müller”, As well as the place where they were made, the village of Chambon-sur-Lac (Puy-de-Dôme). The story of this discovery was published in April 2018 on his blog The subtle dagger . A summary of this story then appeared in the n ^O 17 of Putaphysics college publicator (September 2018), as well as, for a more supplied study, in the catalog of the exhibition of the Barbus Müller at the Barbier-Mueller Museum, in Geneva, in 2020.

The ideal palace of the horse factor , Photogramme du Film by Bruno Montfied, 1981.

• Under the pseudonym Julian Silja, with Anne Pagès, Joël and Régis Gayraud, Pont-au-Double , Super 8, Colors, Sonore, 1976-1977
• Minced film (trilogy ^{[ 22 ]} ): Find Hortense (1977), Praise of Denis-Martin (1979), Madness: mother there (1979), 17 min, super 8
• With Jacques Burtin, Melee , Super 8, colors, mute, 12 min, 1977
• Soud conversation on the misfortunes of time , Super 8, colors, sound ^{[ 23 ]} , 24 min, 1977
• Trianglu , Super 8, colors, mute, 17 min, 1978 ^{[ 24 ]} .
• Immediate art gardens , Super 8, colors, 20 short films including 19 mute (on naive residents) and 1 sound (on Gaston Mouly), around 90 min, 1981- 1992
• Robert Tatin’s strange domain , Super 8, colors, 12 min, 1983
• On the sidewalks of our cities (with texts by Henri Michaux and Bruno Montpied), Super 8, Colors, Sonore, 6 min, 1981-1983
• A changing landscape (animated film), super 8, colors, sound, 3 min, 1983
• Blinkers (with Régis Gayraud by appearing), Super 8, Colors, Sonore, 11 min, 1984
• Sandy case , Super 8, colors, sound, 12 min, 1988
• Script co -written with Rémy Ricordeau of the film DIYers of paradise (the chirping of elephants) , produced by the latter, colors, 52 min, Production Time Noir, 2011
• Bruno Montpied (auteur), Eric Le Blanche, the man who locked himself in his painting , written by B.M. and Coréal. With Jacques Burtin, 85 min, Production Zoom Back, March 2019