Gilles Aillaud

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Gilles Aillaud in front of one of his paintings

Gilles Aillaud [ ˈʒil a'joː ] (born June 5, 1928 in Paris ; † March 24, 2005 ibid) was a French painter , graphic artist , set designer and author . He was one of the most important representatives of narrative figuration .

Life

The son of the French architect Émile Aillaud began to paint while still at school, but initially studied philosophy and literature at the Sorbonne . Then he stayed in Italy. In 1949 he took up painting again, and in 1950 he exhibited for the first time in the Galleria dell'Obelisco. Further exhibitions followed in Paris, Turin, Brussels, New York and Milan.

The collaboration, which began in 1961 with the Spanish artist Eduardo Arroyo (* 1937) and the Italian painter Antonio Recalcati (* 1938), with whom he created the joint work Vivre et laisser mourir ou La fin tragique de Marcel Duchamp (“Live and die let or The tragic end of Marcel Duchamp ”). In the same year, Gilles Aillaud took over the chairmanship of the Salon de la jeune peinture . As part of the student uprisings of May 1968 , he expressed his political radicalism at the time by participating in exhibitions of "anti-authoritarian art" and performances of anti-American plays. His first internationally important retrospective took place in 1971 at the Musée d'art moderne de la Ville de Paris .

From 1972 Aillaud developed an extensive activity in the field of stage design , initially in collaboration with Eduardo Arroyo . In this area he worked with theater directors such as Jean Jourdheuil , Klaus Michael Grüber , Luc Bondy and Giorgio Strehler . The stage set designed in 1974 together with Arroyo for the Bacchen by Euripides staged by Grüber at the Berlin Schaubühne on Lehniner Platz caused a stir . In the 30 years up to his death, Aillaud worked on many important stages in Europe. His last work as a set designer was in 2005 for the Wiener Festwochen .

plant

Aillaud rejected the classic idea of ​​the stage design as a mere decoration and saw its task in the sense of Bertolt Brecht in alienation and disillusionment. Aillaud's preferred motifs are caged animals in the zoo or on the farm and empty beach landscapes. His paintings and graphics are characterized by their flawless coolness and the way in which they simultaneously hold the viewer through the perspective into the work, and through the overall composition out of the work.

Stage sets
Poems
  • 1987: Dans le bleu foncé du matin , Ed. Christian Bourgois, Paris 1987, ISBN 2-267-00489-5
Essays on the theory and aesthetics of art and theater
  • 1989: La medesima strada (with Jean-Christophe Bailly), Ed. Christian Bourgois, Paris 1989, ISBN 2-267-00741-X
Plays

Exhibitions

literature

  • Jean-Christophe Bailly: Gilles Aillaud , Éd. Dimanche, Marseille 2005, ISBN 2-86916-143-3 (French)
  • Horst Schumacher: Aillaud, Gilles . In: Manfred Brauneck, Wolfgang Beck (ed.): Theater Lexikon 2. Actors and directors, stage managers, dramaturges and stage designers . Rowohlt's encyclopedia published by Rowohlt Taschenbuch Verlag. Reinbek near Hamburg, August 2007, ISBN 978 3 499 55650 0 , p. 16

Web links

personal data
SURNAME Aillaud, Gilles
BRIEF DESCRIPTION French painter, printmaker, set designer and author
DATE OF BIRTH June 5, 1928
PLACE OF BIRTH Paris
DATE OF DEATH March 24, 2005
Place of death Paris