Bernar Aubertin

(b. 1934 - 2015 )

Bernar Aubertin
Bernard Aubertin
“Painting in red is an absolute necessity.”
The monochrome red which characterizes Bernar Aubertin works used by the artist as a colour able to reflect
the idea of blood, of fire, but that can also allow, at the same time, something of a depersonalization of the art
and a “technique of anonymity”.
Having become frustrated with the Parisian artistic scene Aubertin moved to Germany where he contributed to the Düsseldorf Zero Group foundedby Mack, Piene and Uecker. Throughoutthe 1960s, he developed the concept of “Tableaux-clous” which subsequently evolved into the Tableau-feu,marking his transition to the ephemeral.Fontenay-aux-Roses,1934).

Bernar Aubertin, among the founders of Zero Group.

During his artistic research has made own theimmateriality of the matter, of fire and of silence.
His artworks will be present at ARTantide.com’s showroom in Verona with the exhibition called “Energia Rosso Fuoco”: works of the 70s, 80s and 90s – Semema, Monorosso,Dessin de feu and Monochrome. Bernard Aubertin (Fontenay-aux-Roses, 1934), among the founders of ZeroGroup (Düsseldorf, 1958), during his artistic research has made own the immateriality of the matter, of fire and of silence. His accession to Zero Group in 1961 comes from the encounter with YvesKlein (1957), this brings him to absorb all the fundamental values of the movement: the zero as “zero” point of orientation, the art and the technique, the movement and the light, the void and the
silence, everyelement as long as natural.
Started from a research about colour, in particular about red, in 1958 there were the red Monochromes, and about
materials, nails, wooden boards nd iron grates, as well as about noise, in 1959 there were the artwork of the
“Valanga” series, afterwards he dedicate to blacks, to greys and to oranges, as colours, and to fire of the matches
and to aluminium, as materials, during the years 1988-90 there were the artworks of the “Parpaing” series, a
sought synthesis of essential elements.Often accused, incoherently, to be an “artist of geometry”, he reinforces
his interest for the metamorphosis not only of the materia ls, but also of the instruments and shapes, through the
work of an only strong element: the fire. From this metamorphosis is born the artistic form searched and wanted
by Aubertin. The transformation is not only captured in the final act – the artwork – , but it’s documented in all it’s
phases through photos of the performance.
Thanks to it materialize the real combustion process, while with the red colour, synthesis of fire, it’s sublimate. His artworks are dense of strenght and of matter and continue to interrogate something that goes beyond the simple description of the reality and describe, through the fire, the disappearance of a shape into another, almost it would be a chain of actions that change and move themselves toward the other. In a continuous attempt of visualization
of energy, his “paintings-matches” so represent the crystallize of the fire element in an endless silence.
Energy red fire it’s not that the action of an event on amodified content. The exhibition and the catalogue, aim to
present not only a rich chronology of artworks (fromthe first Dessin de Feu and Parcours d’allumettes to the Monochromes and the Monored, till to arrive at the most recent Semema), but they highlight some of the key elements
of theartistic way of the french master. Unavoidable, in this sense, is to think again about the matches of the Dessin de feu (years ‘70-’80), as materials that generate the incandescence captured by the iridescent co
lour of Semema(years ‘90).
So Aubertin is arrive to return, through the completeness of the artwork, the strength that is inside the performative event, that brings again into play shape and colour.
More about Bernar Aubertin
Solo Exhibitions:
1962 – Galerie Wulfengasse, Austria
1967 – Falerie Weiller, Paris; Galerie M.E. Thelen, Essen
1968 – Galerie des Quatre Vents, Paris; Galerie Riquelme,Paris; Leine Galerie e V., Frankfurt
1969 – Galerie Senatore, Stuttgart
1971 – Galerie Ursula Lichter, Frankfurt
1972 – Retrospective Exhibition, C.N.A.C., Paris
1973 – Galerie Toni Brechbühl, Grenchen, Switzerland; Musée de l’Abbaye Sainte-Croix, Sables-d’Olonne,France; Galerie Seebacher, Austria
1974 – Galerie 2, Stuttgart, Studio Brescia, Brescia, Italy; Galleria Banco, Brescia, Italy; Studio Firenze Art Contemporanea, Florence; Galleria dei Mille, Bergamo,Italy; Galleria Delta, Salerno, Italy, Studio F22,
Palazzolo, Italy; Galleria Il Canale, Venice.
1975 – Studio Brescia, Brescia; Galleria Il Punto, Turin
1977 – Galleria Rebus, Florence
1978 – Palazzetto dello Sport, Abano Terme; Galerie 44, Kaarst by Dusseldorf
1979 – Galerie Weiller, Paris
1983 – Galerie Donguy, Paris; Galerie Toni Brechbühl, Grenchen
1986 – Galerie Charley Chevalier, Paris
1987 – Galerie Béatrix Wilhelm, Stuttgart
1988 – Galerie Gilbert Brownstone & Cie, Paris; Stiftung fur Konkrete Lunst, Archiv, Reutlingen
1989 – Galeria Oscar Ascanio, Caracas; Galerie Schoeller,Düsseldorf
1990 – Galerie Gilbert Brownstone & Cie, Paris; Galleria Vinciana, Milan; Galerie Jousse Saguin, Paris
Group Exhibitions:
1961 – Zero, Galerie Dato, Frankfurt
1962 – Zero, Galerie Schindler, Berne
1965 – Zero – Avant – Garde, Atelier de Fontana, Milan
1966 – Destruction in Art symposium, London; Climat 66, Musée de Grenoble, France
1967 – Luminism, George Washington Hotel, New York
1968 – Cinétisme, Maison de la Culture, Grenoble, France
1969 – Dynamozero 1959 – 1969, Galerie Ursula Lichter, Frankfurt
1971 – Sammlung Cremer, Kunst der 60er Jahre, Kunstverein, Heidelberg
1972 – Otto Plene Lichtballet und Kunstler der Gruppe Zero, Galerie Heseler, Munich
1973 – Sammlung Cremer, Musée des Beaux-Arts, Tübingen