Friendship, wit, humour and common questions link Topor, Morellet and Spoerri. Each of them, in his artistic
purpose, has strived, to a large extent, to implement coincidences. The momentum is managing to seize from
the passing flow of ideas and visions those to fix (to trap). Fixing the idea by giving it a shape, or fixing the shape
and its infinite potentia
Daniel Spoerril of meaning. Spoerri, Morellet and Topor are opposed to the one and only meaning
49 x 38,5 cm
and use of things, shapes, bo
Background Fürtler, 2008
37,5 x 35,5 cm
is justice done to the infinite possibilities of transformation” (Spoerri). The fusion of the senses is stimulating.
With geometry, confusion conceals high creative potential for formal psycho- activity. Order can then be seen
Geometry is a product of mind, which is seen in the creation of every being: minerals, plants, animals. Geometry’s
chances, its “noises”, and its accidents generate new shapes, which mingle with firmer and repetitive generations
of shapes. Some artists want to impose an a priori order, by trying to hide the chaos of the world. They do
not want to see, but they would have us believe they have seen something. Other people, who do not want
to see, follow them and support them. They are cowards, who ease their consciences. Other artists recognize
chaos and know order is but a fleeting and derisive proposition. They are not afraid of chance, which can be
dangerous, but the danger of order as something unchanging is still greater. Order is always relative, subjective,
and fickle. It depends on chance. Morellet, Spoerri and Topor are not serious. This lack of seriousness allows
them to maintain a reasonable distance with the tragic brainwashing of so many watchwords we set ourselves,
or which we let ourselves be set.
What brings these three artists together in this exhibition is the result, on the one hand, of Spoerri’s heartbeat
in “Crocrodrome de Zig et Puce”, a huge work by Tinguely installed in Centre Pompidou. In the belly of the
beast created by his friend Tinguely, Spoerri had put up a “musée sentimental”, and “une boutique aberrante”.
Topor and Morellet were there among other artists, all of them Spoerri’s friends. On the other hand, Morellet,
Topor and Spoerri have affinities; all three of them are in the tradition of Dada, and before him Alfred Jarry
and the incoherent Artists. Last but not least, there are striking contrasts between the formal styles of these
three artists. They break our perception and allow us to re-question each of these works in the light of the
other. New meanings appear.
Special thanks to Daniel Spoerri, Barbara Räderscheidt, Danielle & Frédéric Morellet, Nicolas Topor, Klaus Kiefer
and galerie Georges-Philippe & Nathalie Vallois.
Alexandre Devaux, 2016
Daniel Spoerri’s famous essay is going to be reprinted in its complete hitherto unpublished version by le Nouvel Attila and le Bureau des activités littéraires, next november 2016.
«Topor, voyageur du livre», the second volume of Roland Topor’s illustrative drawings, will come out on October 20th 2016, published by les Cahiers Dessinés.
Texts and illustrations by Alexandre Devaux, preface by Jean-Baptiste Harang.
TOPOR, MORELLET, SPOERRI : La volonté de distance
curated by Alexandre Devaux
20 October - 21 December 2016
photograph by Alberto Ricci
49 x 39,5 cm
pencil and ink on paper
21 x 14,5 cm
ink and acrylic on newspaper
26 x 26 cm
Petit monument à la merde, 2008
bronze et marbre
21 x 12,5 cm