Christophe Boursault
2015, Selima Niggl


Selima Niggl, 2015
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extract from the text by Selima Niggl "Happy Birthday, Asger Jorn! A Post Jorn Connection" Galerie Van de Loo Projekte 2015
“we are two players, maybe two kids, maybe two monsters, maybe the appetite of painting is in common, maybe the taste for improvisation“

Christophe Boursault (*1975 in Paris) belongs, like Hüppauff, to the artist circle of the International Bongo- Bongo Brigade. Since 2010, he has been exhibiting in the Paris Galerie Polad-Hardouin. The previous year, an exhibition was held with works amongst others from Butzer and Hüppauff under the name Holy Destruction, in which the positions were united which attack the image in order to resurrect painting.46 Boursault’s works would have fit perfectly into the concept of the show. More than Lindau, the French painter, who studied until 2004 at the École nationale supérieure d’art of Nice, represents the image of the painting Vandal. Quickly and spontaneously he throws the colors onto the canvas, roughly placed forms rudimentarily result in a face according to the principle “dot, dot, comma, stroke...” (fig. p. 27). Then he twists the carrier and the color drips down onto the image. The partly used spray colors and tag-like elements remind one of wild spray areas in an urban setting (fig. p. 28). Guy Debord and the Situationists greet with “Ne travaillez jamais” and “Dépassement de l’art“. At the same time, good and continuously sensitive works are created: “In this rough, direct, electrifying, but also humorous painting, the message consciously becomes concealed and reading it becomes more difficult. The viewer needs time to adjust in order to grasp the music of this delicate and fragile balance, which always is just about to fall apart,” writes Julie Higonnet about the works of Boursault.47 Inseparably connected with the pictorial works and drawings of the artist are his oneman- shows, which he documents on video and which extend the pictorial aspects of language and the performance. Here it becomes evident that Boursault is by no means the spontaneous and carefree artist as some of his paintings would suggest. Rather, he constantly and critically but also self-deprecatingly questions the role of the painter and the painting, but also social phenomena as a whole. He provokes with deliberate embarrassment and aggressive respectively irrational moments as well as with anarchistic desire for play and seemingly childlike naivety.
“The links between our two works could be: rapidity, the rhythm, the brutality; the innocence, the game […] the musicality of the painting, the way to destroy, to dissociate, to cut, to accelerate, to miss, to loose the perfect image, to erase.”48 Boursault views rightfully so many connecting points between himself and Jorn. And at the same time he shows himself clearly embossed from the anarchistic stance of the Situationist International. In the end a work evolves (that is in fact still at the beginning), which is actually political without having to move forward with striking references. It is political because of its bulkiness and subversive provocation. Political already in its existence, which in turn Marcel Hüppauff might appreciate very much.
But, to view the works of the exhibited artists only through the “Jorn lens” of course is one-sided and not justified. On the other hand, it is exactly a subjective and personal birthday homage and the admittedly “limited” access may be permitted. Hopefully, the ommission of artists of the middle generation such as Albert Oehlen, Martin Kippenberger, Georg Baselitz and others, who have promoted a new assessment of Jorn and have also “cooked” within the great pot of painting, will be forgiven. “Only he/she who is capable of devaluing can create new value. And only there, where there is something to devalue, meaning where there is already an existing value, can devaluation take place. It is up to us to devalue or to be devalued […] Only my current situation made it possible […] to show that the favorite dish of painting is painting […] I ceremonially salute, let the blood of my victims flow, while the hymn of beauty by Baudelaire begins.”49 Tillykke med fødselsdagen, Asger Jorn! Happy Birthday!


Selima Niggl, 2015.