galerie anne barrault
TOPOR, MORELLET, SPOERRI : La Volonté de Distance
curated by Alexandre Devaux
20 October - 21 December 2016

Monsters are inoffensive by Filliou, Spoerri, Topor


Gallery Anne Barrault is pleased to present a solo exhibition of Daniel Spoerri’s works.

Since the creation of the Movement of New Realism in 1960, to which Daniel Spoerri belonged, this artist embodies a major figure of modern and contemporary art.
The son of Dada and Duchamps, Daniel Spoerri likes to unbalance order, the hierarchy of values, beliefs, and preconceived ideas. Art and life mingle, the world is potentially a work of art, everyday objects, those found,hackneyed phrases are as many ready-mades full of meaning, affect and aesthetic. Everything is fetish. Everything is ritual. Everything is art. You only have to present, to “trap” the thing, as such. What is trivial, unworthy, vulgar, trash, rubbish, doomed to death is put back, by chance, and mainly thanks to Spoerri’s will, into life cycle through
Daniel Spoerri, who is fully part of this movement, which claimed a “collective singularity”, published, in 1962, his first book, today a cult book An Anecdoted Topography of Chance (re-edited this year by Nouvel Attila editions).
In this work already, his friends Dieter Roth, Robert Filliou and Roland Topor intervened.
These exchanges with artists are a central feature of his work. This essential aspect will be seen thanks to the re-edition of a set of 22 postcards entitled "Monsters are Inoffensive", first edited by Fluxus in 1967. In them, Daniel Spoerri, Robert Filliou and Roland Topor take photographs, draw, and assemble.
40 years after “Crocrodrome”, the inaugural exhibition of Centre Pompidou in 1977, in which Tinguely invited Daniel Spoerri to exhibit, for the first time, Le Musée Sentimental and La Boutique Aberrante, the visitor will be able to discover works done in the last thirty years, still never shown in France.
40 years later, this exhibition will be a unique opportunity to show Daniel Spoerri’s most important contribution, which has influenced artistic trends such as Pop Art, Fluxus, Neo Dada… and prove it is still at work today.

With my gratitude to Daniel Spoerri and Barbara Räderscheidt, without whom the exhibition would not have been possible.
I would also like to thank Alexandre Devaux who made my meeting with Daniel Spoerri possible, thanks to his exhibition “Morellet, Topor, Spoerri: the power of distance” at Auusstellungshaus Spoerri, in Austria, and at the gallery in 2016.
Last but not least, I thank galerie Nathalie and Georges-Philippe Vallois for the lending and Deborah Laks for her interview of Daniel Spoerri.

anne barrault


exhibition view DANIEL SPOERRI
galerie anne barrault, 2017

2 September - 28 October 2017
Daniel Spoerri was born on March 27th, 1930 in Galati, Romania.
His father was killed during the pogrom of Lasi in June 1941. He takes refuge in Switzerland in 1942 with his family.
He starts a career as a dancer in 1954. He is the lead dancer of Berne State Opera, and then he is the assistant director of Landestheater of Darmstadt from 1957 to 1959, when he creates the avant-garde poetical journal “Material”.
In the same year he makes his first “snare pictures”, whose process he explains later in “Une Topographie anecdotée du Hasard” in 1962. Settled in Paris in 1960, he creates edition MAT (Multiplication d’Art Transformable), and publishes “multiples” (artists‘books, boxes-objects, sculptures..) by Yaacov Agam, Josef Albers, Pol Bury, Marcel Duchamp, Heinz Mack, Dieter Roth, Jesus-Rafael Soto, Jean Tinguely, François Morellet, Victor Vasarely and many more.
Close to Tinguely and Yves Klein since 1949 he signs the aesthetic manifesto of New Realism. A friend of Robert Filliou (1926-1987) since 1959, he becomes close to George Brecht and George Maciunas, all of them creators of Fluxus.
After changing gallery J. into a restaurant, and the tables on which friends had had their meals into works of art, Spoerri opens a restaurant in Düsseldorf as well as the Eat-Art Gallery where he exhibits joseph Beuys, Nikki de Saint Phalle, Richard Lindner, Morellet and Topor.
In the tradition of Dada and Duchamp, Daniel Spoerri likes to destabilize order, the scale of values, beliefs and preconceived ideas. Art and life merge into one another; the world is potentially a work of art, everyday objects and found ones, hackneyed phrases are as many ready-mades full of meaning, affect and aesthetic. Everything is a fetish. Everything is a ritual. Everything is art. You only have to show the thing as it is, to “snare” it.
With Spoerri, what is beautiful or ugly is not definite; monsters are harmless, museums sentimental, still life dead and the dead living. What is trivial, not noble, vulgar, doomed to be discarded, thrown into the dustbin, or condemned to death is reset by chance, mainly by Spoerri’s will, into a cycle of life through art.
Daniel Spoerri
faux tableau-piège, 2012
série Mosaïques années cinquantes
mix media
diameter 100 cm

Die Ausnahme, 2012
mix media
60 x 46 x 12 cm