Maurice Matieu

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Maurice Matieu (born March 11, 1934 in Paris ; † June 17, 2017 in Saint-Denis-le-Gast , Manche ) was a French painter, author and publisher.

biography

Maurice Matieu, not yet thirty, began his career as a mathematician at the Collège de France in the research group around Francis Perrin and at the Jussieu University of Science. However, the Algerian war caused him to drop out of the university career. Without completely renouncing the mathematical discipline, he devoted himself to painting from 1959. In 1965 he had his first exhibition in the Maeght gallery " Five painters and one sculptor ", about which the French philosopher Alain Badiou wrote an article in the Derrière le miroir review . Various individual and collective exhibitions followed, both in France and abroad. Matieu was the author and editor of several books.

Maurice Matieu worked and lived in Normandy, where he died on June 17, 2017 in Saint-Denis-le-Gast.

Painting and politics

Maurice Matieu - The Impossibility of Painting War

From May 1968 Maurice Matieu questioned the forms of production and distribution of artistic works and in 1972, together with the artists of the Salon de la jeune peinture and the Front des artistes plasticiens, took part in the protest against the exhibition Douze ans d'art contemporain en France ( also called Expo-Pompidou ). . He contributed to the establishment of the anti-fascist collective within the Salon de la jeune peinture from 1975 and actively worked with its members from 1976 to 1977 to ensure that the Center Pompidou includes an autonomous commission of artists even before its opening.

Maurice Matieu joined up with groups of painters and sculptors in order to actively intervene in political events; this offered the opportunity to look for new forms of expression in slogans and slogans as well as in demands. Large-format banners were created for demonstrations in support of the workers in Lip (May 1, 1975), for Vietnam and a little later in support of the Polish trade union Solidarnosc .

His artistic activities were also reactions to political events such as the coup in Chile on September 11, 1973 or the death of Pierre Overney on February 25, 1972, a Maoist activist. Collective works such as the poster Tramoni, flic du patrona t by Maurice Matieu and Claude Yvel, or the painting by Matieu L'enterrement d'Overney , which is the property of the then socialist-oriented trade union confederation CFDT, is exhibited in the trade union training center of the Domaine von Bierville .

In 1999 Maurice Matieu took part in a group trip to Iraq, which was carried out as part of the Franco-Iraqi friendship to support the Iraqi people after the Gulf War. In May 2000 he traveled to Iraq on his own initiative to organize the exhibition Artistes contemporains irakiens at the Institut du Monde Arabe (Paris, July 4 to September 2000), of which he was curator. This trip confronted him anew with the deeply political theme of war, which runs through his work, especially in the pictures about the war in Vietnam or the massacres of Sabra and Shatila . In 1966 and 1967 Maurice Matieu dedicated a series to the impossibility of painting war (Impossibilité de peindre la guerre).

On the occasion of the bicentenary of the French Revolution , in 1989 Gilles Aillaud and Maurice Matieu developed a project to establish the republic in 1793, centered around the political figure Robespierre . This project, which was supposed to bring together dramaturges, writers, painters and sculptors, philosophers and lawyers, did not come to fruition. However, it resulted in the play Le masque de Robespierre by Gilles Aillaud (1996) and in the same year the exhibition by Maurice Matieu Rêver à Robespierre (mainly inspired by the discovery of the Robespierre death mask by Vivant Denon) and later the novel Les onze by Pierre Michon (2009).

  • Maurice Matieu: Dreams to Robespierre

  • A man's price 2

  • Why do people tolerate blows?

  • A man's price 1

Painting and math

For Maurice Matieu, mathematical disciplines were the axis and basis of his considerations in his daily work in painting. For him they were a reference and a method to track down the unthought, the hidden ideology, comparable to a mathematical formula that enables the construction of a surface. The mathematical disciplines also provided him with form material that was continuously used for his considerations and his works: successive forms, tiles that interrupt a linear causality, Peano curves that go over all points of a surface without overlapping, pentagonal tiling with the invention or Rediscovery of irregular polygons, the breaking up of flat surfaces without defining a preferred direction, permutations of jellyfish, birds or philodendron leaves à la Henri Matisse , projections of shadows placed in the place of the model, a puzzle of the four that builds up or dismantles the shape - to the triangle, algebraic groups and structures . Whether ideological or area-filling, he was always concerned with one of the main challenges of painting: the non-existence of a reference to order on a flat surface . to oppose something.

Examples of the use of operational tables of an algebraic structure by Maurice Matieu

  • Motifs by Henri Matisse, placed on one level

  • Area filler, random (decimals from π based on 6)

  • Weak structure (non-commutative semigroup)

  • Strong structure (non-commutative group)

Other key themes and motifs

The political, mathematics and painting form a first triangle for Maurice Matieu, but other themes crossed his work, such as:

  • among the shadows that of Jean-Paul Sartre , especially in the series Dérisoires , Jean-Paul Sartre de dos , for the philosopher Juliette Simont the philosopher returning to Plato's cave of shadows;
  • the empty armchair or chairs, wicker or wheelchairs, appear predominantly in the series du Banquet , and in a picture entitled Les Fauteuils ou la Conquête du pouvoir par le program commun de la gauche ( The armchairs or the conquest of power through the joint program of the left ), which was briefly exhibited in the Grand Orient in Paris, but then withdrawn;
  • the (not ordered) portraits of long-time friends or interlocutors - one of the series is entitled Les iguanodons ou Les inutiles ( The Iguanodonts or The Unnecessary )
  • the haunting female figures, as in the series Voir Hélène en toute femme ( see Helene in every woman ) or in Les Demoiselles du quai de Loire , like women of flesh and blood, figures in strange toga, in a suffering or even upright posture, for Part viewed lovingly:
Maurice Matieu - La mirada ou la tendresse du regard (La mirada or the tenderness of the gaze)

Publications

In addition to his painting, Maurice Matieu was active as an editor and gave the floor to other artists. Together with the philosopher Jean Boreil , in 1989 at the Collège International de Philosophie (Ciph) , he brought about Regards sur le regard : a meeting between philosophers and visual artists, which was subsequently published in the revue Le cahier du collège international de philosophie (later Rue Descarte ) the permanent rubric "Ateliers" became. The " studios " of Jean Ipousteguy , Eduardo Arroyo , Gilles Aillaud , Anselm Kiefer , Julio le Parc , Daniel Buren , Guy de Rougemont , Valerio Adami , Takis and Hervé Télémaque appeared there . . .

This was followed by La ronde ou le peintre interrogé , conversations with Philippe Sergeant, by Armelle Auris (L'Harmattan, 1991), and Esthétique de l'écart , Atelier-I , one by Armelle Auris under the direction of Jean Boreil and Maurice Matieu Prepared text (L'Harmattan, 1994).

Maurice Matieu has authored or co-authored several books related to his artistic work, notably: Au bord du signe (Verdier, 1981), poems by Georges Herment, drawings by Maurice Matieu; Voir Hélène en toute femme (Les Empêcheurs de penser en rond, 2000) in collaboration with the philosopher Barbara Cassin ; La Banalité du massacre (Actes Sud, 2001) Posthume sur mesure (Editions du regard, 2007) Autobiography par la forme (Actes Sud, 2009) La Candelaria, Gaza et autres banalités (Actes Sud, 2011) J 'appellerai mon fils insurrection. Assis, debout , with a text by Juliette Simont and photographs by François Boissonnet (Actes Sud, 2014).

Political commitment

Maurice Matieu's political commitment was a personal commitment and not a party. It had its roots in the rejection of the Algerian war. As chairman of the Strike Committee of the University of Jussieu in May 1968, he tried to feed those ideas that had not been expressed in previous struggles. As the person responsible for the farmers' commission within the Groupe pour la Fondation de l'Union des Communistes Français (1970), he established connections between farmers and intellectuals. This led to the success of the workers 'strike in the domain of the Marquis de Rozambo in Solférino and to the meeting with the revolutionary agricultural worker and smallholder Claudius Descours, co-founder of the Nièvre agricultural workers' union. He contributed to the organization of the student brigades who worked on the farms and supported the demands of the farmers or their families.

Exhibitions

Solo exhibitions

  • 1971, Peintures et dessins de 1967 à 1971, Maison de la culture d'Orléans
  • 1976, Harry Jancovici Gallery (Paris)
  • 1977, Galerie Mosciki (Bruxelles)
  • 1977, Galerie Théo, Madrid;
  • 1978, Matieu, 1966-1977 , Musée du Grand Orient, (Paris)
  • 1982, Prologue de Babel , Galerie Vivian Veteau (Paris)
  • 1984, Babel, le sentiment d'un regard, Musée d'art contemporain (Angoulème)
  • 1984, Dérisoire , Le Méjan (Arles)
  • 1985, La Mirada ou la tendresse d'un regard , Musée Puig (Perpignan)
  • 1986–87, Le Banquet , Galerie Pascal Gabert (Paris) Galerie am Savignyplatz (Berlin)
  • 1988, Art Concentrated, European Art in Berlin Galleries (Berlin) - Galerie Altes Rathaus (Inzlingen, RFA)
  • 1991, Les Demoiselles (dessins), Galerie Pascal Gabert (Paris)
  • 1994, Retrospective 1964-1994 , Entrepôts du quai de Loire (Paris)
  • 1995–96, Robespierre , Saint Martin du Méjan (Arles)
  • 1995–96, Babel et le Banquet , Abbaye de Montmajour (Arles)
  • 1995–96, L'insoumission, Château du Roi René (Tarascon)
  • 1996, Rêver à Robespierre , La Manufacture des œillets, Ivry;
  • 1996–1997, L'abandon du politique , Galerie Pascal Gabert (Paris)
  • 2000, Ecce Homo, Ecce Homines , Chapelle de la Sorbonne (Paris)
  • 2001, La banalité du massacre , Voir Hélène en toute femme, Péano , Chapelle Saint-Martin du Méjan (mai-juin, Arles) et École Normale Supérieure, (septembre, Lyon)
  • 2003, La banalité du massacre , Parlement Européen (avril, Bruxelles)
  • 2004, Les fleurs bêtes , La Maison de la Bibliophilie (Paris)
  • 2005, Maurice Matieu , Galerie am Savignyplatz (Berlin)
  • 2007, Ecce homines Ecce homo, Rêver à Robespierre , Musée d'Ixelles (Bruxelles)
  • 2007, Animal à deux pattes sans plumes , J. Bastien Gallery (Bruxelles)
  • 2009, Animal sans plume à deux pattes de Diogène à Samuel Beckett, Chapelle du Méjan (Arles)
  • 2010, Deleuze. Matisse. Beckett, Musée d'art moderne (Collure)
  • 2010–2011, Ombres, Musée d'art moderne (Collure)
  • 2012, La Calandéria, Gaza et autres banalités , Chapelle du Méjan (Arles)
  • 2014, J'appelerai mon fils insurrection Assis Debout , Chapelle Saint-Laurent (Arles)
  • 2017, La ronde, l'inoubliable joie de vivre , Usine Utopik (Tessy-Bocage).

Collective exhibitions

  • 1965, Cinq peintres et un sculpteur, Galerie Maeght (Paris)
  • 1966-1967-1969-1974, Salon de mai (Paris)
  • 1968, Journées des intellectuels pour le Vietnam , Hall d'exposition de la Porte de Versailles (Paris)
  • 1972-1973-1974-1976, Salon de la Jeune Peinture (Paris)
  • 1975, Pavillon d'Europe , with Aillaud, Monory Erro Ipousteguy (Séoul)
  • 1976, Dies anos de Galeria Theo, Galerie Théo (Madrid)
  • 1976, Peintures au congrès de la CFDT with Balmes Cueco, Le Parc, Netto, Pignon-Ernest, Rancillac (Annecy)
  • 1978, Exposition Internationale pour la Palestine, Université Arabe de Beyrouth (Beyrouth)
  • 1979, Encrage-Passage, lithographies originales de l'Atelier Franck Bordas, avec Rougemont, Galerie Le dessin (Paris)
  • 1985, Dissonances , with Gilles Aillaud, Guy de Rougemont, Torroni (Arles)
  • 1986, Sartre et ses peintres , with Calder, Giacomette, Lapoujade, Masson, Miro, Rebeyrolles, Wols, Musée d'art moderne (Londres)
  • 1987, Sartre et l'arte , Villa Médicis (Rome)
  • 1988, Le corps et ses images , Maison de la culture (Saint Michel sur Orge)
  • 1991-1994-1996-1999-2001, Gallery Pascal Gabert (Paris)
  • 1997, Autour d'Aimé Césaire , Palais de l'UNESCO (Paris)
  • 1997, Autour d'Aimé Césaire , (Musée d'art moderne de Fort de France; Rio de Janeiro; Sao Paulo)
  • 2014, Mano a Mano , avec Eduardo Arroyo, Le Capitole (Arles)

Exhibition organizations

  • Dissonances , Le Méjan (Arles, 1985)
  • Artistes contemporains irakiens , Institut du Monde Arabe (Paris, 4 july-10 septembre 2000).

bibliography

Conversations with Maurice Matieu (publications and radio interviews)

  • Nicole Mathieu, Maurice Matieu: inventer un rapport entre peinture, mathématiques et politique?, Propos recueillis par Nicole Mathieu. Natures Sciences Sociétés, Volume 16, No. 1, 2008, pp. 52-56.
  • Jean-Claude Meunier: Entretiens avec Matieu. Editions Verdier, 1984.
  • Armelle Auris, Maurice Matieu, Philippe.Sergeant: La ronde, ou, Le peintre interrogé. L'Harmattan, 1999.
  • François Dérivery.
  • France Culture : “A voix nue” , 12. – 15. December 1989.
  • France Culture: Entretien avec Abdelwahab Meddeb “Culture d'Islam” , March 27, 2005.

Texts about Maurice Matieu

  • Dans Posthume sur mesure, Regard, 2006, ISBN 978-2-84105-209-7 .
  • Jean Borreil: Ces fauteuils, nous dit le titre, seraient ceux d'un banquet , Galerie Pascal Gabert, 1986.
  • Jean Borreil: Les Demoiselles: Lettres de Joan Borrell à Maurice Matieu, Musée d'Art Moderne, 1994.
  • Jean Borreil: Dissonances: Aillaud, Matieu, Rougemont, Toroni, Actes Sud, 1985.
  • Stéphane Douailler: Maximilien Robespierre, moulages 2 , revue La Mazarine , automne 2000;
  • Luis Fabrega: Matieu el arte como veraz espejo, Guadalimar Revista bimestral de las artes. 1977, pp. 54-55.
  • Jean-Clet Martin: Le dérobement d'Hélène , in Figures des temps contemporains , Kimé, 2001.
  • Philippe Sergeant: Maurice Matieu: L'insoumission , Actes Sud, 1995.
  • Juliette Simont: La pensée muette. On the subject of the peinture de Maurice Matieu , Les Temps Modernes , No. 627, 2004, pp. 297-302.
  • Matthias Tripp: Maximilien Robespierre: pour Maurice Matieu , Saint-Martin du Méjan, Arles, Actes sud, 1995.
  • Patrick Vauday: Maurice Matieu: l'ombre de l'égalité , Les Temps Modernes , No. 660, 2010, pp. 82–87.
  • Patrick Vauday: Vauday, Art et politique: Courbet et Matieu, revue La Mazarine, 2000.

Publications by Maurice Matieu (as author, co-author or responsible for the text)

  • Georges Herment, Maurice Matieu: Au bord du signe . Verdier, 1981, ISBN 2-86432-015-0 .
  • Armelle Auris (Ed.): Ateliers. Esthetique de l'écart . L'Harmattan, 1994, ISBN 2-7384-2416-3 (250 p., Texts établi par Armelle Auris, sous la responsabilité de Jean Borreil et Maurice Matieu).
  • Barbara Cassin, Maurice Matieu, Philippe Pignarre, François Boissonnet: Voir Hélène en toute femme . Les empêcheurs de penser en rond, 2000, ISBN 2-7427-3287-X .
  • Maurice Matieu: La banalité du massacre, suivi de la lettre de Paul Cézanne à Felix Klein et other textes . Acte sud, 2003, ISBN 2-7427-4364-2 .
  • Maurice Matieu: Sous X Illustration de Barbara Cassin, suivi de "Matieu, l'absent" de Philippe Sergeant . Actes Sud, 2009, ISBN 978-2-7427-8285-7 .
  • Maurice Matieu: Autobiography par la forme . Actes Sud, 2014, ISBN 978-2-7427-9778-3 .
  • Maurice Matieu: La Candélaria, Gaza et autres banalités… suivi de Antonin Artaud Chiote à l'esprit . Actes sud, 2014, ISBN 978-2-330-03228-9 .

Web links

Individual evidence

  1. ↑ a b c d e f g Nicole Mathieu: Maurice Matieu: inventer un rapport entre peinture, mathématiques et politique? In: Natures Sciences Sociétés . tape 16 , no. 1 , February 1, 2012, ISSN  1240-1307 , p. 52–56 ( cairn.info [accessed September 17, 2017]).
  2. ^ Sylvain Allemand, Francine Best, Colloque de Cerisy: Une Normandie sensible: regards croisés de geographes et de plasticiens . Presses universitaires de Caen, Caen 2012, ISBN 978-2-84133-409-4 , p. 73-78 .
  3. ^ Ouest France. Edition Manche. 20th June 2017.
  4. ↑ François DERIVERY: L'exposition 72-72 . EC, Paris 2001, ISBN 2-911105-39-7 .
  5. ^ INA - Jalons - Intervention d'artistes lors de l'exposition 60-72, douze ans d'art contemporain en France - Ina.fr. Retrieved September 17, 2017 .
  6. ↑ a b c Perrot, Raymond: Le Salon de la Jeune peinture: une histoire, 1950–1983 . JP, Montreuil 1983, ISBN 978-2-904652-00-4 , pp. 236 .
  7. ^ Raymond Perrot: Le Collectif antifasciste: 1974–1977 . EC éditions, Paris 2001, ISBN 2-911105-40-0 .
  8. ^ Perrot, Raymond, 1935-: Le Salon de la Jeune peinture: une histoire, 1950-1983 . JP, Montreuil [France] 1983, ISBN 978-2-904652-00-4 , pp. 236 .
  9. ↑ Philippe Sergeant: Maurice Matieu: L'insoumission . Actes Sud, Arles 1996, ISBN 2-7427-0736-0 , pp. 42 .
  10. ↑ a b Institut du Monde Arabe. Retrieved September 17, 2017 .
  11. ↑ Philippe Sergeant: Maurice Matieu: L'insoumission . Actes Sud, Arles 1996, ISBN 2-7427-0736-0 , pp. 32-34 .
  12. ↑ Philippe Sergeant: Maurice Matieu: L'insoumission . Actes Sud, Arles 1996, ISBN 2-7427-0736-0 , pp. 97 .
  13. ↑ Gilles Aillaud: Le masque de Robespierre: [Strasbourg, Théâtre national de Strasbourg, January 9, 1996] . C. Bourgois, Paris 1996, ISBN 2-267-01332-0 .
  14. ↑ Philippe Sergeant: Maurice Matieu: L'insoumission . Actes Sud, Arles 1996, ISBN 2-7427-0736-0 , pp. 98 .
  15. ↑ a b Maurice Matieu: autobiography par la forme . Actes Sud, Arles 2009, ISBN 978-2-7427-8285-7 .
  16. ↑ Maurice Matieu: mesure sur Posthumous . Regard, Paris 2007, ISBN 978-2-84105-209-7 , Barbara Cassin Un mathématicien est un peintre est un peintre est un peintre… , p. 27 .
  17. ↑ Maurice Matieu: mesure sur Posthumous . Regard, Paris 2007, ISBN 978-2-84105-209-7 , Alain Badiou L'avenir du portrait , p. 53 .
  18. ↑ Philippe Sergeant: Maurice Matieu: L'insoumission . Actes Sud, Arles 1996, ISBN 2-7427-0736-0 , pp. 21 .
  19. ↑ Philippe Sergeant: Maurice Matieu: L'insoumission . Actes Sud, Arles 1996, ISBN 2-7427-0736-0 , pp. 56 .
  20. ↑ Maurice Matieu: mesure sur Posthumous . Regard, Paris 2007, ISBN 978-2-84105-209-7 , Juliette Simont Une sombre protestation pensante ,, p. 33 .
  21. ↑ Maurice Matieu: mesure sur Posthumous . Regard, Paris 2007, ISBN 978-2-84105-209-7 , Pierre Verstraeten Le mystère Matieu ., Pp. 128 .
  22. ↑ Jean Borreil: Ces fauteuils, nous dit le titre, seraient ceux d'un banquet. Galerie Pascal Gabert, 1986, accessed on September 18, 2017 (fr-fr).
  23. ↑ Philippe Sergeant: Maurice Matieu: L'insoumission . Actes Sud, Arles 1996, ISBN 2-7427-0736-0 , pp. 46 .
  24. ↑ Maurice Matieu: mesure sur Posthumous . Regard, Paris 2007, ISBN 978-2-84105-209-7 , Alain Badiou L'avenir du portrait ., P. 52 .
  25. ↑ Maurice Matieu: mesure sur Posthumous . Regard, Paris 2007, ISBN 978-2-84105-209-7 , Juliette Simont Une sombre protestation pensante ., P. 42-44 .
  26. ^ Pierre Delain: Ateliers I - L'atelier de Valerio Adami, in Esthétique de l'Ecart (Jacques Derrida, 1994) [AEE]. Retrieved September 18, 2017 .
  27. ↑ "84 jours de grève à Solférino". (PDF) In: Tout !, n ° 5 -, p. 8 October 11, 1970, accessed on September 17, 2017 .
  28. ↑ Nicole Mathieu: Approcher la petite paysannerie: une question de volonté et de méthode (PDF Download Available). Retrieved September 18, 2017 (French).
  29. ^ Gallery at Savignyplatz. Retrieved September 19, 2017 .
  30. ↑ House of World Cultures: Time of Unrest. About the International Art Exhibition for Palestine 1978. Accessed September 18, 2017 (German).
personal data
SURNAME Matieu, Maurice
BRIEF DESCRIPTION French painter, author and editor
DATE OF BIRTH March 11, 1934
PLACE OF BIRTH Paris
DATE OF DEATH 17th June 2017
Place of death Saint-Denis-le-Gast , Manche