[Oman FRANCE + + Cambodia + Japan + brunei + Romania + + + Belgium Swiss
tuvalu]
(1) All letters used in the mode anagrammatic to create some content of Oxo.
(2) Title of a set of new colors for the four yellow orange pink blue [> oxo-3] [> Oxo 12].
[Appendix]
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us by association. When we were students at the Fine Arts, we have focused our research on four artists Kasimir Malevich, Marcel Duchamp, Salvador Dali and Andy Warhol. The first two have changed the formal approach to art and through their actions have prompted the other two to invent the art of attitude. Our job is to define logical sequences, called "kasimirmarcelsalvadorandy" revealing the ties that bound their works. For example: Malevich invented the black square on a white background Duchamp applies the principle of repetition in this work and sets the scene (multiple of black squares on white background) as the ultimate artistic practice since abandoned all production to play chess; more trivial, Salvador Dalí reinterprets the black square by swallowing in a commercial for Lanvin chocolate; Warhol, more than ever faithful to the spirit of Duchamp, distributed with a slight variation in the many black squares on white background in screen printing series of grids crossword.
We found that these links could also act as in a game of dominoes, by successive groups of signs, a bit like the Surrealist exquisite corpse:
1) the formal link between the work of Malevich and Duchamp, we have seen is the square black supremacism and of the exchequer;
2) the formal link between Duchamp's work and that of Dalí's mustache, the one that adorns MD Mona Lisa and the way Dalí made his hallmark;
3) finally, the formal link between the work of Dalí and Warhol is that of the dollar, that of Avida Dollars, an anagram of which Breton had rigged Dalí, Warhol and the one that made its motto and the center of his career.
But where does this relate to the four colors orangejaunerosebleu in all this? Soon, these four artists have become for us true fictional characters, characters from movies or novels, eventually to be embodied in cartoon characters especially interesting for their distance from reality: Kasimir Malevich Casimir is naturally The monster Island smiling children, Marcel Duchamp, aka Rose Sélavy is the panther Rrose; Salvador Dalí became the Marsupilami (Marsupidalí!) because of its soft structures such as the large tail of the lasso-hero comics, and, more tragically, Andy Warhol was reincarnated as a Smurf, because, as brought back the MA Farber and Lawrence Altman in the New York Times shortly after his death, "to 5: 45 pm, the nurse Min Chou noted that Warhol became all blue."
Casimir Orange, Pink Panther, Marsupilami yellow, blue Smurf, all our work is summarized in this formula.
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us in the late 80s, when we bought our apartment in Pantin. Everything starts in the cellar, as we put some order into the mess left behind by the previous owner died. We fall on an old plastic bag filled with pieces of the puzzle. Until then, nothing extraordinary, but detailing the contents of the package we see the strangeness content: All parts are monochrome - some orange, some yellow, there are also pink and blue. We have exactly two years to rebuild! We should have remembered the words of Georges Perec in Life manual, when describing the absurdity a puzzle completely white. The result was quite disappointing: a succession of boring parts orange, yellow, pink and blue but no sign, no readable image. Once completed, the puzzle had no interest, and we were going to throw it away when we found the back these few words written by hand: "Noah swore a great storm." This beautiful phrase could suggest to a table heading and we concluded it was a work of art. But who? No box, no signature, we were quite unable to define fatherhood. We then supervise table then we have forgotten, as we often forget what hangs on the wall.
Six months later, we go to the library of Beaubourg and we come across a book devoted to Fluxus where we see a work by Jean Dupuy entitled A beautiful storm. The sentence, signed Noah, is an anagram of "Orange Blue" we immediately reconciliation with our puzzle. Intrigued, we remove the frame and compare the two records: it sticks! And it fits the more we discover the property of the sentence written on the back of the puzzle: "Noah swore a good storm" is an anagram of "orange pink yellow blue "! We get the address of the artist and her writing to ask the question: "Are you well as we think the author of this puzzle?". A week later we receive a response by Jean Dupuy, accompanied by a small drawing showing the anagram "orange blue - a beautiful storm": "Dear Rooster & Kitschcock, what a nice hobby you have taken. I hope it continues for you -> (The author of the puzzle ->?). Go to 1 2 C 4 (with my complementary). JD Jean Dupuy therefore denies being the author of the puzzle, but few days pass and we get another letter in which the artist asks us. To see the puzzle? The following week he comes in Pantin. Facing the table he said: "The author of the puzzle is you!". It is true that the best defense is attack. This meeting was the starting point of our artistic career and that is why we included in our research center of the four colors now fetishes.
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us in the following four dreams that we could summarized as follows:
- Orange Dream. In 1993, two crazy artists buy a juicer and 90 pounds of oranges. The night they get into the Beaubourg museum and enter one of the contemporary galleries. Near the kiosk-shaped orange installed by Bernard Bazile, then press the two men drank their own oranges until the last drop because the customer is scarce. A few hours later, they pack up their equipment and leave the museum and will vomit a stream of orange in the gutter. The next day, nobody noticed anything.
- Yellow Dream. In 1996, two artists crazy buying a stove, a stove, a box of matches, 250 grams of butter and half a dozen eggs. At night, they enter the precincts of the Beaubourg museum and climb to the fifth floor. There, they light the stove, place a knob of butter in the pan and grill are the six egg yolks, looking longingly at the Bacon on the walls. They eat their fried yellow and clean spills. The next day, nobody noticed anything.
- Pink Dream. In 1992, two crazy artists rented a Citroen XM Turbo Diesel. Their correspondents in New York come to learn about the arrival imminent in Paris by Barbara Rose, the great American art critic. In the evening, they go to Gate C from Roissy-Charles de Gaulle and dock art criticism by posing for the driver and the steward of Mr. X. Flattered, Ms. Rose gets into the sedan and accepts a glass of champagne, without realizing there was a powerful sleeping pill made. After nightfall, the two men breaking through the Centre Georges Pompidou and will carry the sleeping body of Barbara Rose. They ascend to the fifth floor and then install it in the Container zero Jean-Pierre Raynaud, instead of the rose a little faded filed the day before by the artist. Three hours later, they put the flower in place, while art criticism, still sleeping, is brought to his hotel and deposited in his room. The next day, nobody noticed anything.
- Blue Dream. In 1996, two crazy artists roulor and buy a pot of blue paint Murnyl. At night, they are introduced illegally into the Beaubourg museum. Arriving at the contemporary collections, they repaint a blue monochrome of Yves Klein, nose and beard guards. They pack up their gear, then stand quietly. The next day, nobody not notice anything.
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us because our mom dressed us so when we were kids. By an unfortunate coincidence, we began our life dressed in pink and blue, although we were both boys, then yellow and orange. At the time, our parents were living in Casablanca and when our mother became pregnant, she asked our father to return the baby clothes in Paris. It must be remembered that in 1964, ultrasound did not exist, and our mother who wanted foresight had asked her husband to buy all the clothes twice, that is to say pink in the event of a girl and blue in the event of a boy. She had everything planned except for one detail: she could have twins, and that's clearly what happened. Overtaken by events, she had no other recourse but to use the two layettes and that's how we were entitled to a wardrobe girl embroiled in boys' clothes.
Our father was strongly opposed to that each of these layettes be reserved for the exclusive use of either of us, because, he said, we do not know how can turn a boy dressed all in pink! To distinguish ourselves, our mother had to find another solution, as our likeness was really striking. She spun a beautiful morning at the Medina after we have given to the neighbor in the Rue de Longwy and returned with two bags: in one, tiny yellow slippers and a small orange fez, the other, conversely, that is to say a fez and slippers orange yellow. Thus, she said joyfully to our father, we can not more confused: we have only to watch their feet and their heads and we'll know!
This way we can distinguish became the tradition for nine years and soon the area, divided between admiration and derision, took the habit of clapping each time without understanding why it was bent on we dress that way. Years later, our mother confessed the real reason for this obsession was her way of preserving us, that we attach to this child that she would not see us out and we also believe that we were his toys Our mother was a child surprise Its twin pregnancy and we were her dolls, she wanted eternal.
Fortunately we were too naive to suffer, we were even rather proud of looking like an attraction in this city where the sun is used to flatter the colors more vivid. And then we had this loophole: the night, secretly, we exchanged our clothes, our shoes and our hats, and we spent hours looking in the mirror and then turn face to face, imagining that we were one and the another, then another one, until we fall to sleep without more about who we were. This dress was very particular, we imposed until 1973, when our parents divorced when our father and we forced him to wear other colors. We remember very well have claimed a hue and cry of the black patent leather shoes because they were shining like the skin of our little neighbor Abderrazak we envy the color of ebony. After this separation, our mother told us never to these four colors, but the damage was done: when we were locked in our room, we spent most of our time telling stories where these colors played a large role, we reinvent the adventures of the little pink riding hood, those harping on our favorite hero Bluebeard, we set the scene in Tintin albums and blue or orange The mystery of the dark yellow, and soon we began to jabber a language that only we could understand. Psychologists have subsequently learned that this practice is very common language in twins, but the peculiarity of our language have a twin was perfectly organized structure based on a simple rule: the removal of any letter of the alphabet not contained in the words orange yellow pink blue. For example, instead of say: "So what do we do again today brother?" We launched "So we are u'allons noueau aujour'ue e rere?". This made our mother, half mad, because she thought we had severe speech problems. Over time, our games became more sophisticated: we learned to master our language twins so that it can be understood by everyone, which forced us to make an inventory of all the French words composed of letters ABEGJLNORSU . When we meet someone, we said: "Hello ! It tightens the arm or cheek? Greet us in line. So we pollock are played? Blablabla! "At risk of going again to incorrigible originals. We had excellent grades in French composition when it came to describing the dreams of faraway places, with phrases that teachers do not always know the structure, as when one of us wrote
"We Arsenal will have a non-trivial. An arsenal of gold to stay at the Argo. Barrera it on our barges aber, we glean the Sargassum, shad, beluga, the sole, catfish or studs. We reap without the terminals belons Eburnean or green snail. The blue water, the orangejaunerosebleu in full. "
We have excelled in this practice until the age of fifteen or sixteen, then the end of adolescence and our return to France led us to other more conventional interests. Today we work together, we have preserved this time the use of orange yellow pink blue pictorial in our practice, four colors are perhaps the most profound symbol of our roots and our twins.
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us between 1982 and 1984, when we were trying something new in the context of abstraction. The rule of the game was very simple: after Yves Klein, he needed a new system and take ownership of chromic. The monochrome was Klein, Manzoni was achromatic, the isochromatic was Rutault, etc.. We then found a poem by Saint-Exupery that began:
"If the earth is an orange blue / So the moon is a yellow rose (...)".
Already the idea was there to hold four colors in two, we were feverishly vérifiâmes if this idea of multiple color had already inspired someone. Finding nothing, we began to make monochromatic polychromatic, that is to say, tables covered with a layer of orange, then yellow, then pink, then blue, leaving only the last layer . The great American art critic Eve Linsky came to see us in our workshop and we showed him our full-color monochrome. She said that was good, but preferred-four poems written anagrams from the letters of these four colors on funds orange, yellow, pink, blue: "You jealous of a shepherdess", "General sober or sober," "I embellish an absolute rage," "Bewildered on the right cheek." She said that the monochromatic polychromatic abstraction and abstraction is finite, while in writing anagrammatic of these four colors, there is openness to reality. So we stopped to show our monochromatic polychromatic, but we continued to do. Today it is these four colors, but what we love in our monochromatic polychromatic past, it was our will, our next obstinate search chromic this system, and we remember the pleasure we felt the day we said, ah, we finally found the monochrome polychrome!
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us in the late 80s and are tied to our learning the art. "Learning" is a big word: a word, we discussed the painting flipping through a dictionary. We often used the Petit Larousse edition 84 for completing the crossword puzzle that women currently
our mother bought each Wednesday and did not attach much importance to the illustrations in the dictionary, perhaps because they were printed in black and white and we loved the bright colors (especially pink since we saw the tailor bloodstained Jackie Kennedy). We knew the work of Gauguin reproductions through boxes of chocolate, and that's about all. We therefore girdle this dictionary and one day, God only knows why we focused on the "pop art" and we are facing each other as if we were to make a fundamental discovery. This we had just seen, however, was a reproduction in black and white portrait of Marilyn Monroe signed Warhol. But it was like a revelation and we can say today that this was our first real artistic emotion against a table. The next day we had more than a word in the mouth: Warhol. We went to the library of Beaubourg to learn a little more and we opened the largest of books on the American artist Andy Warhol, a Retrospective, which we discovered with delight several portraits of Marilyn, this time in this colors. Fascinated, we brought home a large poster of the 1964 painting Blue Marilyn, whose colors were orange, yellow, pink, blue. And that's how we painted tables with four colors, to channel a bit Warholian our fanaticism (though we were jaywalkers but still not so stupid to reproduce in our turn, hordes of Marilyn!). Of course, we then had our Oedipus Warhol period, consisting of denigrating the work of the artist after adored (hence the table "Andy Warhol & Air Wick Have The Same initiate" hanging in our toilets), but all four colors have survived and now they are our trade mark, our trademark.
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us by sexual metaphor. We had read in a U.S. gay magazine, a few years ago, a survey on the use of dildoes for men 20 to 40 years. A survey had established a hit parade of artificial sex and reveal this surprising result: the tool used was the first ... carrot, followed in second position by the banana and then, equally surprising, eggplant! The rubber dildo ranks only fourth place, probably because of its excessive price but also its poor distribution: it is much easier to find in Ohio, a bunch of carrots that Jeff Stryker dildo! This sociological study that said a lot about the secret life of Americans amused us so much that we turned into the Totems figurative objects, but quickly ignored our need for us to retain only the colors: orange carrots, the yellow banana, blue aubergine and pink dildo. As you see the emergence of these four colors in our work is completely Freudian!
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us by an old method surreal tale in reverse. This is, as defined André Breton, write or rewrite a story backwards through a sequence of spontaneous events or events that had no prior dealings with each other but the unconscious reveals links. To define with certainty the palette that would suit us best, we have free rein to our unconscious: orange, yellow, pink and blue are the four colors that we have come in succession in mind, at one and the another. To check their validity, we defined a point of arrival-departure point: the year 1919 we seemed ideal because it is the date on which Aragon, Breton founded the review and Soupault Literature, we can consider as the true starting point of surrealism. We just had to establish the relationship between that date and the four colors from our unconscious. What we have done relatively easily: the four colors orangejaunerosebleu contain 19 letters while the 1919 has four digits, a kind of chiasmus in its simplicity ensures the validity of our surreal color palette.
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us a little as the law of universal gravitation in Newton has emerged. Adolescents, while we stay in Morocco, we are invited to Marrakech to attend the wedding of our friend Umm Milaïd, a young Berber who grew along with us. In anticipation of a long night of dancing and partying with sheikdoms, we decided to take a nap in the shade of orange, but bad luck, the sirocco blows so loud that we brought down several dozen kilos orange on the head. First shock. In coal tar, we manage to drag us to the villa where two hundred guests await the bride and groom. Each time a guest arrives, a host of Berber children dressed in djellabas toss handfuls of rose petals. Alas, Umm Milaïd asked them to book us a very special home and wham! we miss death by suffocation under three kilos of petals. Second shock. The third shock is harder to explain when we will finally see the bride, suddenly we're seeing a huge yellow disk that looks like an UFO, but whose impact on our heads is real. An hour later, during a wake semi-comatose, we discover the origin of this meeting of the Third Kind: Milaïd Um, all wearing gold and sitting on a large golden plate, asked his bearers to run to us to welcome us but having a little too clumsy precipitates have collided with the edge of the plateau. Our fourth shock, luckily, was only a mental shock, but he printed so indelibly in our minds the previous three teenage girls after a fairly restless night's sleep because of pain caused by oranges, pinks and gold, the glow of dawn reveals to each other, a vision of horror, that our bodies bloated, swollen and dotted with blue, the final color of this memorable day which luckily scored less than our flesh our minds.
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us because of our fascination with the Shroud of Turin. For the first time in history, the transition from a negative image became a means of knowledge is why we started to go negative in a number of contemporary paintings. The study by the negative one of Ad Reinhardt Black Painting shows the influence of Kazimir Malevich on this artist. This facility Christo indicates a certain kinship with the work of Pierre Soulages. Since 1974, the work of Jean-Pierre Raynaud and that of Simon Hantai formally merge as the two sides of one coin. One of our most surprising discoveries concerning Daniel Buren: the negative of his pictures reveals that he has undergone no formal influence outside! Table Flag green, black and orange Jasper Johns actually represents the American flag and a portrait of Georges Pompidou Vasarely is done by Mandela ... And then one day we made this extraordinary discovery: When the going negative, the bottom of the table Leda Atomica Salvador Dali becomes orange yellow pink blue! This table we found was suddenly very ugly sublimely beautiful, this beauty that not met only once in his life time of intense aesthetic pleasure. Believe to have discovered the ultimate in harmony with these four chromatic colors, we have reported higher arts with an assurance that would not have denied Dalí himself!
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OXO: Colors orangejaunerosebleu are central to your work. Why?
PLC + K: This is not a choice. These colors are imposed on us by their relatively clandestine erotic. We are not talking about sexual stimuli associated with retinal function, as in the case of red where the evocation of blood induces the idea of passion. This is a more unconscious and eroticism rarely seen, clean writing, the form of the word. Johannes Itten has largely dealt with the psychology of color, it seemed interesting to study anything that is not color in the color, that is to say, spelling, typographical form and to a lesser extent pronunciation. So could there be such a new theory on the origin of erotic pink: it naturally evokes flesh, but the sound and spelling of the word play an undeniable role in the evocation of least in the French language: when you pronounce the word "rose", you think maybe "dare", and when you see the word "pink", it says probably unconsciously anagrams "daring" or " Eros. " Itten leaned on combinatorics and rhythmic colors we apply the science of word sounds to the mix of colors, including the art of the anagram. The color orange yellow pink blue "have quickly emerged as highly erotic, first by the combinatorial self, then the combinatorial manifold. The combinatorial self is the art of the anagram applied to the word alone. The most erotic anagrams of the word "orange" are the words "body" ("sexual organ") and "Evening Primrose" (see the expression "hung like a donkey"). The color yellow, which usually evokes the language in urology retinal is in a sense close to an anagram of continence, with the word "fasting" temporary chastity which we shall soon see the importance in the rise of desire. The term "rose", as we have seen, contains the words "dare" and "Eros." The word "blue" part comprises him the word "lube", which means "lubricant (KY, Sensilube, Elbow Grease, etc..) in the vernacular English or gay. Although sometimes with strong erotic power in the collective unconscious, the other colors do not have suggestive or no anagrams anagrams at all: black (?), Red (organ, Uygur, roe), white ( ?), purple (?), green (?), gray (?), etc..
The intermediate stage between combinatorics and combinatorial multiple autonomous is the juxtaposition of these anagrams: "Body fasting, Eros lube. What does this sentence odd? Perhaps the chastity and abstinence are the antechamber of the desire theory quite verified by our own care and can not be invalidated by any person abstains from erotic practices for a period exceeding five or six days of sexual abstinence ("body Fasting ") is indeed the best lubricant of desire (Eros lube").
Combinatorics multiple colors is to mix them to define new anagrams. The color orange yellow pink blue "offer the best promise of love:" A beautiful angel playing Eros. " But also announce some practice extreme now in fashion: "I water an angel caved, I shave or a beautiful body" ...
This natural selection is born a color palette of a new genus, "orangejaunerosebleu" devoid of any hint that painting but also capable of painting to express the desire. 221096
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