Raymond Hains

Raymond Hains (9 November 1926 – 28 October 2005) was a prominent French visual artist and a founder of the Nouveau réalisme movement. In 1960, he signed, along with Arman, François Dufrêne, Yves Klein, Jean Tinguely, Jacques Villeglé and Pierre Restany, the ''Manifesto of New Realism''."New Realism - Chronology"
, Centre Pompidou, Retrieved 3 March 2019. In 1976, the first retrospective exhibition dedicated to Hains’ work was organized by Daniel Abadie at the National Center of Art and Culture (C.N.A.C.) in Paris. Hains named the show, which was the last one to be displayed at the C.N.A.C., ''La Chasse au C.N.A.C.'' (''Hunt at the C.N.A.C''). For it, Daniel Spoerri organized a dinner entitled ''La faim au C.N.A.C.'' (''Hunger at the C.N.A.C.'').

In 1997 Hains was awarded the Kurt Schwitters Prize. In 2017, Hains was selected as an artist for the main exhibition of the 57th Venice Biennale. In 2001, the Centre Georges Pompidou devoted a retrospective exhibition to Raymond Hains in Paris called ''La tentative'' (''The Endeavour''). Galerie Max Hetzler has been working with the estate of Hains, led by Thomas Hains, since 2014.

Early life and education

Raymond Hains was born on November 9, 1926 in Saint-Brieuc, Côtes-d'Armor, France. He studied sculpture at the École des Beaux-Arts in Rennes for six months before leaving to travel to Paris."New Realism"
, Pompidou Center, Retrieved 17 February 2019. While at school he met the artist Jacques de la Villeglé, whom he would later collaborate with.

Career

Photography

Shortly after enrolling in the Ecole Nationale des Beaux-Arts in Rennes, Hains decided to leave school and move to Paris."Raymond Hains"
, Haus der Kunst, Retrieved 3 March 2019. There Hains began his apprenticeship with the photographer Emmanuel Sougez. In 1946 he started creating his first photograms and solarizations on paper. He then met André Breton, to whom he showed his work.

His first abstract photographs were taken by means of a circular reflector equipped with small mirrors, which multiplied and fragmented the subject matter. For his first attempt, he used a copy of an Etruscan object and photographed it through the fragments of fluted glass. He entitled it ''Trésor de Golcondo'' (''Treasures of Golcondo'').

One day, in the family's glazing workshop, he noticed some rejects of fluted glass splashed with paint - an accidental prism - and decided to use those latter for his photographs. He had effectively developed a new kind of camera, the ''Hypnagogoscope'' (expression made of three Greek words : hypnos : “sleep”; agogos “one who leads” and skopein “to observe”).

The adjective ''hypnagogic'', signifying “which immediately precedes sleep”, a state of drowsiness. Hains’ use of hypnagogy enabled him to tear himself away from the usual tendency of photography to mimic: it deconstructed the light and transformed the image into abstract lines. He made use of procedures adapted from pre-war Dada and Surrealism with hypnagogic abstract photographs, often produced with the help of distorting mirrors. In 1948, he presented his first exhibition, ''Hypnagogical Photographs'', at the Gallery Colette Allendy in Paris.

In 1952, he published ''Graphism in Photographs: When photography becomes the object'' in the fifth issue of ''Photo Almanach Prisma'', where he explained that manipulating the image enabled him to make the subject abstract. This text served as his own personal manifesto, where he questioned the generally accepted notion of realism and affirmed, citing Apollinaire, his conviction of the necessity for the artist to invent new realities.

Films and ''Ultra-Letters''

In 1949, Hains produced his first black and white short film: ''Saint Germain-des Prés Colombiens''. From 1950 to 1954, he created several more movies, including ''Pénélope'', ''Loi du 29 juillet 1881'' and ''Défense d’afficher''. Together with Jacques Villeglé, they adopted the process of visual distortion, adding grooved glass to the camera and producing abstract films inspired by Henri Matisse's watercolor cut-outs. Composer Pierre Schaeffer added onto a film of theirsvhis own music in 1959, and named it ''Etude aux allures''.

Hains attended Lettrist performances, particularly appreciating the work of François Dufrêne, Isidore Isou and Gabriel Pomerand.Oxford Dictionary of Modern and Contemporary Art, Oxford University, p. 13 In 1950, he devoted himself to creating a representation in plastic of the written output of the Lettrist movement, shredding letters with the fluted lens. This photographic process of deformation fell within a modern aesthetic initiated by Stéphane Mallarmé, further pursued by Guillaume Apollinaire, and later by the Lettrists.

In 1953, Hains published ''Hépérile éclaté'' in collaboration with Villeglé. The phonetic poem ''Hyperile'' written by Camille Bryen, pioneer of lyrical abstraction, was exploded into an Ultra-Lettrist presentation: a poem not intended to be read.

Décollage

In 1949 Hains and Jacques Villeglé began to use torn posters to create ''Paintings''. They collaboratively produced a series of works, using torn concert posters and advertisements taken from around the city, in a process known as décollage. Their first work was titled ''Ach Alma Manetro'', named after words that emerged from the chaos of the strewn letters.

In 1954, François Dufrêne introduced Yves Klein to Hains in front of Le Dôme Café, on Boulevard Montparnasse. In 1956, Hains met the art critic Pierre Restany at Yves Klein's home. Then, in 1957, he opened his first torn posters exhibition in Paris in collaboration with Jacques Villeglé.

SEITA and SAFFA

Beginning in 1964, Hains began splitting his artistic persona into two fictional artists: SEITA and SAFFA (acronyms for the Italian and French national companies for tobacco and matches) by displaying a giant box of matches illustrated with La Fontaine's Fable ''The Ass in Lion’s Skin'' at the Leone Gallery in Venice. SAFFA created reproductions of matchboxes produced by the Italian tobacco company SAFFA. His French partner, SEITA, only reproduced the French matchboxes produced by SEITA. The following year, Hains arranged an exhibition entitled ''Seita and Saffa: copyright by Raymond Hains'' at the Iris Clert Gallery in Paris. There, giant matchboxes were displayed, signed with the two acronyms Seita and Saffa, with Hains presenting himself as their agent.

Also in 1964, during the Venice Biennale, Hains presented ''Biennale déchirée'' (''Torn Biennial'') and four years later the ''Biennale éclatée'' (''Shattered Biennial''): for which he deformed the catalogue covers of each National Pavilion through a prism of fluted glass.

Macintoshages and Pavement Sculptures

In 1997 Hains created his first ''Macintoshages''. The term was coined from a motley formation of words such as “machin” (French for ‘thing’), machine, Macintosh, Marshall McLuhan and other analogies. ''Macintoshage'' brought computer-based texts and images closer together by manipulating them. Multi-window/text-image Macintosh arrangements were displaying on the screen, as well as computer tools developed. In an innovative way, texts and images were there the source for a project in constant progress: they could be virtually pasted or unpasted, opened in accordance with current affairs or even combined in the same way the unconscious mind would act in the process of dreaming. At the same time, Hains started working on a series of ''Pavement Sculptures''. Equipped with his camera while strolling through the streets, Hains took pictures of certain details at construction sites; for example isolating a concrete block in which he sensed a potential sculpture.

Select solo exhibitions

*1948 ''Photographies hypnagogiques,'' Galerie Colette Allendy, Paris, Fr
*1957 ''Loi du 29 juillet 1881 ou Le Lyrisme à la sauvette'', with Jacques Villeglé, Galerie Colette Allendy, Paris, Fr
*1961 ''La France déchirée'', avec Jacques Villeglé, Galerie J, Paris, Fr
*1964 ''SAFFA et SEITA'', Galleria del Leone, Venice, It
*1964 ''La Biennale déchirée di Raymond Hains'', Galleria Apollinaire, Milan, It
*1965 ''SEITA & SAFFA, copyright by Raymond Hains'', Galerie Iris Clert, Paris, Fr
*1968 ''La Biennale éclatée'', Galleria L'Elefante, Mestre, It
*1968 Documenta IV, Kassel, Ge
*1970 ''SAFFA'', Galleria Blu, Milan, It
*1973 ''HAINS – SAFFA – SEITA'', Galleria della Trinità, Roma, It
*1976 ''La chasse au CNAC'', Centre National d’Art Contemporain, Paris, Fr
*1976 ''L'Art à Vinci'', Galerie Lara Vincy, Paris, Fr
*1986 ''Hommage au marquis de Bièvre'', Fondation Cartier for Contemporary Art, Jouy-en-Josas, Fr
*1994 ''Les 3 Cartier. Du Grand Louvre aux 3 Cartier'', Fondation Cartier for Contemporary Art, Paris, Fr
*1995 ''Raymond Hains, Akzente 1949-1995 / Accents 1949-1995,'' Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria
*1995 ''Raymond Hains, Gast auf der Durchreise'', Portikus, Frankfurt, Ge
*1998 ''Brève rencontre avec Raymond Hains''. Documenta X, quai Voltaire, Galerie de la Caisse des Dépôts et Consignations, 13 quai Voltaire et vitrines du quai Voltaire, Paris
*2001 ''Raymond Hains. La Tentative'', Centre Pompidou, Paris, France
*2002 ''Raymond Hains : Art Speculator'', Moore College of Art and Design, Philadelphia, US
*2002 ''Réquichot Dado Rochaïd Dada'', Les Abattoirs, Toulouse, Fr
*2003 ''La boîte à fiches'', Musée Art et Histoire, Saint-Brieuc, Fr
*2003 ''En quête de Raymond Hains'', Galerie du Dourven, Trédrez-Locquémeau
*2004 ''De l’art à Vinci aux vedettes du Pont Neuf'', Galerie Lara Vincy, Paris, Fr
*2004 ''Le désir de Retz ou le disert de Retz'', Passage de Retz, Paris, Fr
*2004 ''De Chateaubriand à Rosanbo'', Galerie du Dourven, Trédrez-Locquémeau
*2005 ''En souvenir de André du Colombier''(with André du Colombier), Galerie Patricia Dorfmann, Paris, Fr
*2006 ''Raymond Hains, en permanence'', Galerie W Eric Landau, Paris, Fr
*2012 ''Palissades'', Garage Cosmos, Brussels
*2013 ''Raymond Hains'', Passage Saint-Guillaume et cour Saint-Gouéno de l’ensemble Saint-Brieuc, et les vedettes vertes à Dinard, Exposition du FRAC Bretagne, Saint-Brieuc
*2015 ''Raymond Hains photographe'', Les Rencontres d’Arles, Arles
*2015 ''Raymond Hains, L’entretien infini'', MAMCO, Geneva
*2015 ''Raymond la science'',''Raymond le disert'', Galerie Max Hetzler, Berlin , Paris
*2016 ''Bertrand Lavier - Merci Raymond par Betrand Lavier'', Monnaie de Paris, Paris
*2018 ''Saffa , Seita'', Galerie Max Hetzler, Paris
*2019 ''Infinite Conversations'', Galerie Max Hetzler, London
*2021 Galerie Max Hetzler, Berlin
Raymond Hains, Galerie Max Hetzler, Berlin, 29 April – 12 June 2021.

Bibliography

* Loi du 29 juillet 1881 ou le Lyrisme à la sauvette, texts by Jean-Philippe Talbo, Galerie Colette Allendy (Ed.) : Paris, 1957
* Iris.Time. SEITA & SAFFA. Copyright by Raymond Hains, n°21, 12 October 1965. Texts by René Brô and Iris Clert.
* atalogue Raymond Hains, Paris, CNAC, 1976
* atalogue Paris-Pâris, texts by Catherine Bompuis, Frac Champagne-Ardenne (Ed.) : Reims, 1987
* atalogue Raymond Hains, Poitiers, Musée Sainte-Croix, FRAC Poitou-Charentes, PS1, New York, 1989
* Hains et la pansémiotique, Bodson Guy, Daligand Daniel, Ducorroy Joël, Duval Bruno, Sünder Richard, Vincendeau Jean-Louis, AFP (Ed., Association française de pansémiotique : Paris, 1989
* atalogue Raymond Hains, Paris, Centre Georges-Pompidou, 1990
* atalogue Raymond Hains. Les 3 Cartier, texts by Nicolas Bourriaud, Hervé Chandès, Hélène Kelmachter, Allen Weiss, Fondation Cartier pour l’art contemporain (Ed.):Paris, 1994
* Raymond Hains et Marc Dachy, Langue de cheval et facteur temps, Actes Sud, 1998
* atalogue Raymond Hains, author:Catherine Bompuis, Museu d'art contemporani de Barcelona - MACBA (Ed), 2001
* atalogue J'ai la mémoire qui planche - Raymond Hains, direction of the publication : Pierre Leguillon, Paris, Centre Pompidou (Ed), 2001
* atalogue Raymond Hains, Art speculator, texts by Molly Dougherty, Christine Macel, Tom MacDonough, Christian Schlatter and Aude Bodet, Goldie Paley Gallery/Moore college of art and design (Ed.):Philadelphie, 2002
* atalogue Raymond Hains, uns romans, auteur : Forest Philippe, Gallimard (Ed.), Paris, 2004
* Entre collage et décollage, deux Bretons novateurs: Villéglé et Hains, by Liliane Riou, magazine Hopala! La Bretagne au monde, no 18, p. 47-56, novembre 2004-février 2005
* atalogue Raymond Hains, La Boîte à Fiches, FRAC Bretagne; ODDC / galerie du Dourven (co Ed.), Saint-Brieux, 2005
* atalogue Raymond Hains - itinéraire d'un piéton de l'art, Centre International d'Art Contemporain, château de Carros, stArt (Ed.): Nice, 2006
* atalogue Raymond Hains, Jacques Villeglé : Pénélope, Les Éditions du Regard, Paris, 2012

References

External links

''Raymond Hains : Mon Encyclopédie Clartés'' website conceived for the Centre Pompidou exhibition in 2001''Raymond Hains'', Galerie Max Hetzler, Artstic Page

{{DEFAULTSORT:Hains, Raymond
1926 births
2005 deaths
Nouveau réalisme artists
French poster artists
French contemporary artists
Artists from Saint-Brieuc
20th-century French male artists