Raymond Hains.
Kirkegaards Antikvariat
kir54736
Barcelona: Actar / Macba, 1999. Small 4to in flexible hardcover as issued. 205 pages, richly illustrated, mainly in color. Text in both French and Catalan. Near fine clean copy with only light shelfwear to corners of cover. From the collection of John Hunov, with his neat bookmark at front innercover.
Fine monograph on Hains’ work: hypnagogic photographs, abstract photos made through fluted glass in the late 1940s, under a Surrealist influence to his decollage works and more. Ribbed glass, cinema and letterist poetry, Nouveau Réalisme – the décollage (unpeeling) of torn posters: a turning point but also one “site” among many others – which he regularly revisited. Urban dérives (“drifts”) took him ever closer to Situationism and, after the ads and billboards, he next collected and displayed boarding fences from construction sites (palissades). The first time the term décollage appeared in print was in the Dictionnaire Abrégé du Surréalisme in 1938, it is usually used in the context of nouveau réalisme. The artists involved, Raymond Hains among them, often sought out sites with many layers of posters so that the process of décollage took on an archeological character and was seen as a means of uncovering historical information. They exhibited their ripped poster artworks as aesthetic objects and social documents. From 1949 Hains made work from posters that he tore from the walls of Paris. In 1963 the German artist Wolf Vostell appropriated the term, staging a series of happenings under the title Nein 9 Decollagen which involved television images which he had ‘décollé’ unstuck from the screen and re-presented.
Fine monograph on Hains’ work: hypnagogic photographs, abstract photos made through fluted glass in the late 1940s, under a Surrealist influence to his decollage works and more. Ribbed glass, cinema and letterist poetry, Nouveau Réalisme – the décollage (unpeeling) of torn posters: a turning point but also one “site” among many others – which he regularly revisited. Urban dérives (“drifts”) took him ever closer to Situationism and, after the ads and billboards, he next collected and displayed boarding fences from construction sites (palissades). The first time the term décollage appeared in print was in the Dictionnaire Abrégé du Surréalisme in 1938, it is usually used in the context of nouveau réalisme. The artists involved, Raymond Hains among them, often sought out sites with many layers of posters so that the process of décollage took on an archeological character and was seen as a means of uncovering historical information. They exhibited their ripped poster artworks as aesthetic objects and social documents. From 1949 Hains made work from posters that he tore from the walls of Paris. In 1963 the German artist Wolf Vostell appropriated the term, staging a series of happenings under the title Nein 9 Decollagen which involved television images which he had ‘décollé’ unstuck from the screen and re-presented.
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