{"id":1402,"date":"2012-11-22T01:00:55","date_gmt":"2012-11-22T00:00:55","guid":{"rendered":"http:\/\/philippelanglois.net\/lcd\/?p=1402"},"modified":"2022-11-01T13:39:01","modified_gmt":"2022-11-01T12:39:01","slug":"portrait-dubuffet-de-gerard-patris-1964","status":"publish","type":"post","link":"https:\/\/philippelanglois.net\/lcd\/en\/portrait-dubuffet-de-gerard-patris-1964\/","title":{"rendered":"PORTRAIT DUBUFFET de G\u00e9rard Patris (1964)"},"content":{"rendered":"

The text and video excerpt below document the book by Philippe Langlois, Les cloches d\u2019Atlantis, Musique \u00e9lectroacoustique et cin\u00e9ma, Arch\u00e9ologie et histoire d\u2019un art sonore,<\/em> <\/a>\u00e9ditions mf, Paris, 2012.<\/p>\n

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It is around Dubuffet\u2019s canvases, gathered under the generic name of Fleur de barbe, during their exhibition at the mus\u00e9e des arts d\u00e9coratifs, that G\u00e9rard Patris finds the formal idea around which he will organise his entire self-portrait Dubuffet.
Fleur de Barbe is also the title of a poem written by the painter himself, a poem that Dubuffet will chant, sing and shout in his sublime, rasping voice, accompanying himself on traditional musical instruments: flutes, percussion, bird calls, metals, etc., creating a strange cantillation whose accents recall ancient traditional rites.
Hidden cameras filmed him, unbeknown to him, at work in his studio, and then while he was being shown sequences of the programme Terre des Arts in which he had taken part. His reactions were edited in alternation with the projected passages that appear on the screen of a television set \u2013 \u201cAll this, he says, is cinema!\u201d \u2013 and serve to demonstrate, by its opposite, the testimonial value of the invisible camera \u2013 The film thus made goes beyond a mere approach to the work by offering more than a portrait in negative, the truest face of the artist and of the man, his self-portrait by another.
One cannot strictly speak of a film score to accompany this \u201ctelevision essay\u201d, insofar as the film is structured mainly around Dubuffet\u2019s poetic interventions.
In the credits, the sound work is mentioned as follows: \u201cSound elements Jean Dubuffet Luc Farrari\u201d. Luc Ferrari\u2019s interventions are relatively discreet, playing the role of a structuring element by punctuating the pivotal moments of the film, and leaving pride of place to Dubuffet\u2019s sublime poetic actions.<\/p>\n\n\n