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拍品專文
En 1964, alors que la scène artistique américaine triomphe dans le monde artistique grâce au premier prix reçu à la Biennale de Venise par Robert Rauschenberg, en France, c'est l'exposition Mythologies quotidiennes qui marque un tournant décisif pour toute une nouvelle génération d'artistes réunie par le critique Gérald Gassiot-Talabot sous la bannière de la Figuration Narrative. Artiste emblématique de ce courant, Bernard Rancillac y développe une peinture qui synthétise éléments empruntés à la culture populaire et recherche plastique de plus en plus aboutie. Captain Ka contre doc Dok, réalisé en 1965, est en ce sens une des oeuvres les plus représentatives de sa démarche. Le dessin y est parfaitement défini, travaillé en aplats de couleurs uniformes et volontairement dénué de toute profondeur. La composition rappelle ici les oeuvres de Peter Saul. En effet, les deux artistes se connaissent bien et partagent la même approche cynique du sujet, où les références à la bande-dessinée et aux images publicitaires viennent se confronter aux thèmes sociaux et politiques qui agitent le monde. S'inscrivant en défaut d'un Pop art qui sublime les stéréotypes du quotidien, Rancillac, tout comme Saul ou Télémaque, exploitent ces derniers pour leur donner un nouveau message. Ici, sur fond de Guerre Froide, Khrouchtchev empoigne Franç ois Duvalier tout récemment autoproclamé président à vie de la République d'Haïti dans une pantomime farouchement drôle et grotesque. Comme Rancillac le soulignait lui-même: "Un fusil est plus efficace qu'un pinceau si l'on sait s'en servir. Pour ceux que le fusil rebute, le pinceau peut-il être une arme ? J'en doute. Mais avec ce doute en moi, moi peignant par force majeure, je ne veux pas dé tourner les yeux des champs de bataille, des charniers, des villes assiègées, (...), tous lieux en ce monde où le monde se fait effroyablement vite, sans moi, sans nous." (cité in Le Monde en question, catalogue d'exposition, L'ARC, juin 1967).
In 1964, while the American art scene was taking the art world by storm following Robert Rauschenberg's first accolades at the Venice Biennale, in France it was the Mythologies Quotidiennes exhibition which marked a decisive turning point for a whole new generation of artists, assembled by Gérald Gassiot-Talabot under the banner Figuration Narrative. Bernard Rancillac is one of this movement's emblematic artists, developing a style of painting combining elements borrowed from pop culture with increasingly sophisticated artistic research. Captain Ka Contre Doc Dok, produced in 1965, is one of the works most representative of this approach. The image is perfectly defined, worked in solid blocks of colour and deliberately devoid of any depth. The composition here is reminiscent of the work of Peter Saul. Indeed the two artists knew each other well and shared the same cynical approach to the subject, in which references to cartoons and advertising images were contrasted with social and political themes shaking the world at that time. Setting himself apart from Pop Art, which sublimated everyday stereotypes, Rancillac, like Saul and Télémaque, took these stereotypes and infused them with a new message. Here, against the backdrop of the Cold War, Khrouchtchev grabs hold of François Duvalier, who had recently proclaimed himself President for life of the Republic of Haiti, in a wildly odd and grotesque pantomime. As Rancillac himself emphasised: "A gun is more effective than a paintbrush if you know how to use it. But for those who find guns a turn-off, might the paintbrush be a weapon? I doubt it. But with that doubt in me, painting out of force majeure, I cannot avert my eyes from battlefields, carnage, besieged towns, (...) all those places in this world where the world is being made, frighteningly fast, without me, without us." (quoted in Le Monde en Question, exhibition catalogue, L'ARC, June 1967).
In 1964, while the American art scene was taking the art world by storm following Robert Rauschenberg's first accolades at the Venice Biennale, in France it was the Mythologies Quotidiennes exhibition which marked a decisive turning point for a whole new generation of artists, assembled by Gérald Gassiot-Talabot under the banner Figuration Narrative. Bernard Rancillac is one of this movement's emblematic artists, developing a style of painting combining elements borrowed from pop culture with increasingly sophisticated artistic research. Captain Ka Contre Doc Dok, produced in 1965, is one of the works most representative of this approach. The image is perfectly defined, worked in solid blocks of colour and deliberately devoid of any depth. The composition here is reminiscent of the work of Peter Saul. Indeed the two artists knew each other well and shared the same cynical approach to the subject, in which references to cartoons and advertising images were contrasted with social and political themes shaking the world at that time. Setting himself apart from Pop Art, which sublimated everyday stereotypes, Rancillac, like Saul and Télémaque, took these stereotypes and infused them with a new message. Here, against the backdrop of the Cold War, Khrouchtchev grabs hold of François Duvalier, who had recently proclaimed himself President for life of the Republic of Haiti, in a wildly odd and grotesque pantomime. As Rancillac himself emphasised: "A gun is more effective than a paintbrush if you know how to use it. But for those who find guns a turn-off, might the paintbrush be a weapon? I doubt it. But with that doubt in me, painting out of force majeure, I cannot avert my eyes from battlefields, carnage, besieged towns, (...) all those places in this world where the world is being made, frighteningly fast, without me, without us." (quoted in Le Monde en Question, exhibition catalogue, L'ARC, June 1967).