Description

OEUVRE ORIGINALE DE JACQUES VILLEGLÉ, monogrammée  et datée décembre 2002.
Une des rares ardoises réalisées par l'artiste et offertes à ses proches alors qu'il poursuivait son travail sur La Mémoire insoluble, l'une de ses oeuvres les plus monumentales. Achevée en 2008, à l’occasion de l'exposition rétrospective "La Comédie urbaine" est organisée au Centre Pompidou, La Mémoire insoluble se compose de  237 ardoises et un bureau d'écolier sur une estrade

Cette ardoise accompagne les tirages de tête du catalogue de l'exposition du Musée de Sainte Croix à Poitiers en 2003, Villeglé - Alphabet Socio-Politique.  L'ouvrage a été édité à 1000 exemplaires proposés à la vente ainsi qu' à 28 exemplaires de tête hors-commerce accompagnés d'une ardoise originale signée.
Distribués aux collaborateurs de l'exposition, à l'artiste et à l'éditeur, ces tirages n'ont jamais été proposés à la vente. Ces oeuvres de Jacques Villeglé sont les seules réalisées sur des ardoises publicitaires.

Pentex ineffaçable sur ardoise publicitaire La Vache Grosjean en carton de 22 x 16 mm, datant de la fin des années 50, portant la citation de Marcel Duchamp en alphabet socio-politique :

"Se servir
d'un Rembrand
comme d'une
planche à
repasser

Duchamp 1911/15
J.V.
XII.02"

Elle est accompagnée d'un exemplaire du catalogue de l'exposition du Musée de Sainte Croix à Poitiers en 2003 : Villeglé - Alphabet Socio-Politique  andun justificatif de l'éditeur : restranscription de l'oeuvre portant le tampon à sec des Atelier d'Aquitaine.

"Flâneur"Close to Lettrism, the Situationist International and the New Realism movement, which he joined in October 1960, Jacques Villeglé began in the late 1940s to collect and assemble torn posters as plastic documentation of urban realities in motion. This material was the focus of almost all his work until the 1970s, when he laid the foundations of his "socio-political alphabet". Break-up or continuation? "The unity of my collection," says Villeglé, "should be maintained by the profound unity of the antagonisms it conceals.."

It was on 28 February 1969, on the walls of a corridor in the République station, that Jacques Villeglé collected - as he had previously collected pieces of torn posters - the first signs of his "socio-political alphabet"On the occasion of the American President's visit to Paris, an "anonymous graffiti artist" (cousin of the "anonymous lacerated"He spells out Nixon's name with the three arrows of the old Socialist Party for the N, the cross of Lorraine for the I, the swastika for the X, and the circle of the Young Nation movement for the O. Working, in his own words, in the manner of the Encyclopaedists or a "recording device"Over the next forty years or so, Villeglé continued to collect these singular, urban writings, which he incorporated into the matrix of his constantly evolving socio-political alphabet.

He developed a conceptualisation of his work through several essays on sociology applied to the visual arts (Urbi & Orbi, L'Épigraphie contestataire, La Guérilla des Symboles...), the artist cites Chakhotin's essay "..." as the driving force behind his socio-political alphabet.The rape of crowds by political propaganda"(1939), an analysis of Nazi propaganda through the prism of objective psychology, which sees the symbol as stimulus. By transcribing quotations and aphorisms into his hybrid alphabet, Villeglé saturates the stimuli, blurring the decipherability of image and text: chimerical juxtapositions of Flaubert, the starry crescent, the encircled A of anarchy and the pound sterling underline the character of the Nazi propaganda.hypermnesia"It is a society with a violent past - and at the same time it provokes astonishment and smiles. Against the backdrop of the political theorising that marked the late 60s, Villeglé's totalizing alphabet brought back "art to its function of active subversiveness through passivity" (Socio-political alphabet, p. 64).

"Graffitied on canvas, on the walls of the Tuileries gardens, on the letterheads of international hotels, the socio-political alphabet took on a new form in 1998, when Villeglé discovered school slates in the attic of the Martéret (home of the Atelier d'Aquitaine). An obsolete medium for recording the foundations of collective realities, the school slate also has the function of a palimpsest, which the artist "blocks" by inscribing quotations with an indelible Pentex. A first exhibition of 50 slates bearing quotations from writers, artists, comedians and philosophers in socio-political alphabet was organised in September 2000 at the François Mitterand cultural centre in Périgueux; it was entitled "The School Slate".The unsolvable memory". Others followed, with the artist gradually adding to the body of work. In 2008, when the retrospective exhibition "La comédie urbaine" was organised at the Centre Pompidou, "The unsolvable memory"There are 237 slates and a school desk on a platform.

Nous avons pu faire l'acquisition de 8 ardoises portant chacune, en alphabet socio-politique,  une citation différente choisie par Jacques Villeglé : Breton et Schuster, Nadja, Paul Klee, Gustave Flaubert, Octavio Paz, Pierre Tilman et Arnaud Labelle-Rojoux. Catalogue détaillé disponible sur notre site internet.