{"id":95698,"date":"2021-04-28T10:18:01","date_gmt":"2021-04-28T08:18:01","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95698"},"modified":"2021-04-28T10:18:02","modified_gmt":"2021-04-28T08:18:02","slug":"b52","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b52\/","title":{"rendered":"Endre T\u00f3t"},"content":{"rendered":"\n

Apr\u00e8s une formation en peinture monumentale au Coll\u00e8ge hongrois d\u2019Arts appliqu\u00e9s, Endre T\u00f3t rejoint le mouvement de la N\u00e9o\u2011Avant\u2011Garde \u00e0 la fin des ann\u00e9es 60 et s\u2019illustra notamment par ses Unpainted Canvasses<\/em> de 1970. C\u2019est n\u00e9anmoins en 1971 qu\u2019il se lance r\u00e9solument dans l\u2019art conceptuel <\/span>avec les s\u00e9ries avec lesquelles il acquit une reconnaissance internationale et qui devinrent au cours des d\u00e9cennies successives embl\u00e9matiques de son travail : les Nothingness \/ Zero<\/em> ou Rains<\/em> et Gladnesses<\/em>, une production d\u2019art graphique et imprim\u00e9, souvent perform\u00e9e, et se d\u00e9ployant sur des supports aussi divers que des t\u00e9l\u00e9grammes, des cartes postales, des timbres, des T\u2011shirts, des photocopies, des posters des graffiti, des pancartes, de manifestations ou encore des films. D\u00e8s 1971, sa pratique de l\u2019art postal fut \u00e9pingl\u00e9e comme l\u2019un des exemples pionniers du genre dans le bloc de l\u2019Est, avec des correspondants tels que Ben Vautier, John Armleder, George Brecht, Daniel Spoerri, Cosey Fanny Tutti, Genesis P\u2011Orridge, Dieter Roth, Marina Abramovich, Ken Friedmann.

T\u00f3t joue avec une na\u00efvet\u00e9 feinte <\/span>\u2011 en usant aussi de la valence s\u00e9mantique et symbolique polys\u00e9mique de son patronyme \u2011 sur les concepts de joie (gladness<\/em>) de z\u00e9ro, et de n\u00e9ant (nothingness<\/em>) comme autant de formes de r\u00e9sistances,<\/span> \u00e0 la fois placides, acerbes et opini\u00e2tres, \u00e0 l\u2019engagement forc\u00e9 (ou insidieux) de nos soci\u00e9t\u00e9s productivistes, qu\u2019elles soient par ailleurs collectivistes ou capitalistes.<\/span>

Il se met volontiers en sc\u00e8ne, dans des dispositifs absurdes, afin d\u2019incarner ou plut\u00f4t d\u2019activer des slogans et formules simples qui claquent comme des \u00e9vidences, et r\u00e9sonnent comme des parodies d\u2019une culture de l\u2019optimisme qui d\u00e9noncent avec d\u2019autant plus d\u2019efficacit\u00e9 les travers de nos soci\u00e9t\u00e9s. C\u2019est particuli\u00e8rement le cas dans les six prints<\/em> historiques de la s\u00e9rie Very Special Gladnesses<\/em> que nous pr\u00e9sentons \u00e0 la fin du parcours de Bye Bye His\u2011Story. Ces tirages agissent comme une invitation \u00e0 garder un esprit aiguis\u00e9 et amus\u00e9, faussement na\u00eff, critique certes des paradigmes et clich\u00e9s de la croissance, mais malgr\u00e9 tout optimiste.<\/p>\n\n\n\n

English<\/h2>\n\n\n\n

After training in monumental painting at the Hungarian College of Applied Arts, Endre T\u00f3t<\/span> joined the Neo-Avant-Garde movement at the end of the 1960s and made a name for himself in particular with his Unpainted Canvasses<\/em> from 1970. It was nevertheless in 1971 that he resolutely embarked upon conceptual art with the series with which he acquired international recognition and which, over the successive decades, became emblematic of his practice: the Nothing\/Zer0, Rains <\/em>and Gladnesses,<\/em><\/span> <\/em>a graphic and printed art production, often performed, and deployed on media as diverse as telegrams, postcards, stamps, T-shirts, photocopies, graffiti posters, signs, happenings or even films. As early as 1971, his practice of mail art was pinned as one of the pioneering examples of the genre in the Eastern Bloc, with correspondents such as Ben Vautier, John Armleder, George Brecht, Daniel Spoerri, Cosey Fanny Tutti, Genesis P-Orridge, Dieter Roth, Marina Abramovich, Ken Friedmann.

T\u00f3t plays with feigned naivety<\/span> – also using the semantic and polysemic symbolic valence of his surname – on concepts such as gladness, <\/em>zero, and nothingness,<\/em> as so many forms of resistance that are at once placid, acerbic and obstinate, against the forced (or insidious) engagement of our productivist societies, whether they be collectivist or capitalist.<\/span>

He willingly puts himself on the stage, in absurd ways, in order to embody or rather activate simple slogans and formulas which are dead obvious, and resonate like parodies of a culture of optimism which denounce with so much more efficiency the failings of our societies. This is particularly the case in the six historical prints of the Very Special Gladnesses<\/em> series that we present at the end of the course of Bye Bye His-Story. <\/em>These photographic prints act as an invitation to keep a sharp and amused mind, to reman falsely naive, certainly critical of paradigms and growth clich\u00e9s, but despite it all, still optimistic.<\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95698","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95698","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra"}],"about":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/types\/extra"}],"wp:attachment":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/media?parent=95698"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}