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European Avant Garde between the 1950s and 1970s

La lune en rodage

European Avant Garde between the 1950s and 1970s

European Avant Garde between the 1950s and 1970s    
The three volumes of La lune en rodage (published in 1960, 1965 e 1977 in Basel), page by page, with their approximately 180 works (single and multiple pieces), provide us with a rich slice of the European artistic avant-garde scene between the 1950s and 1970s. Carl Laszlo, brilliant publisher, collector, intellectual and friend to the greatest artists of the time gathered together in this collective work (with the energy and enthusiasm of one who, having survived the Shoah, saw himself as a “spectator in the front row” rather than as a victim) all the names that would go down in the art history of those years. From Fontana to Manzoni, from Castellani to Otto Piene, from Capogrossi to Hundertwasser, from Vasarely to Man Ray, from Arp to Munari, from Diter Rot to Marina Apollonio, from Getulio Alviani to Hsiao Chin, to name but a few – they all responded to Laszlo's call, with artworks that often marked a complete turning point in their production. The multiple by Enrico Castellani, for instance, is his first documented graphic work, from 1960, while Piero Manzoni's is the only multiple Achrome the artist produced. Many are one-off pieces: Fontana's work in the first volume varies from book to book – there are silver and gold tinfoil pieces, some with one slash, others with more, or with holes. It is amazing to think of an artist like Fontana creating 215 (150 for the numbered edition and 65 not-for-sale, reserved for fellow contributors) little cards for a book. Each book has a different binding, as does the bas-relief executed on the cover (by Giò Pomodoro for the first, Talman for the second and Getulio Alviani for the third volume).   La lune en rodage, however, is not just a masterpiece in that it brings together such great artists' works, but as an object in itself. The three volumes, with stiff covers (each different from the other) in rough canvas, paper imitating wood, damask fabric, and screws that hold the pages containing the artworks (of various colours) together, solid and compact but at the same time easy to handle because they are not too cumbersome (33x35 cm), are like a portable collection of contemporary art which a keen cosmopolitan nomad might carry around with him. Laszlo undoubtedly had in mind Duchamp's La boîte en valise, a little portable museum, as the artist defined it, but also a one-man-show of 69 works, all multiple miniatures of his most celebrated works, able to fit into a briefcase. Indeed, it was with a multiple, in millions of exemplars, of an infinitely replicated urinal that conceptual art kicked off, and some of the most revolutionary twentieth century works, from Manzoni's tin of "artist's shit" to Andy Warhol's Brillo box were actually multiples, discrediting the myth of the “uniqueness” of a masterpiece.

The 180 works are all framed and accompanied by high definition photographs and technical notes  

La lune en rodage I
1960, Editions Panderma – Carl Laszlo, Basel, cm 33x35  
Edition of 150 exemplars in Arabic numbers from 1 to 150 plus 65 not-for-sale ones, reserved for fellow contributors, with personal dedications.
This one is number 056.

The volume contains 63 works (54 signed) by: Cazac, Brock, Hundertwasser, Belloli, Lino, Péret/Toyen, Hains, Kolos-Vary, Vasarély, Heliczer, Fontana, Vogel, Prachensky, Schuldt, Humbert, Gripari, Hammarberg, Castellani, Mattmüller, Guerdon, Man Ray, Crippa, Ionesco, Béalu, Onorio, P.A. Benoit, Meret Oppenheim, Renate Axt, Laszlo, Lora, Bill von Bredow, Christianna Thias, Piene, Fenkart/Onorio, Mack, Sonderborg, Esther Wirz/Meret Oppenheim, Bischof, Chr. Schmidt, Bischoffshausen, Manzoni, Baj, Herchenröder, Brauer, Platschek, Rippstein, Fedier, Arman, Nico Taratès/Meret Oppenheim, Fat Charrière, Milet, Jean Cocteau/Lucien Clergue, Rainer, Childs, Hollegha, Mikl, Nina Mayo, Brüning, Munari, Arp, Cárdenas, Mächler and Bryen.  
A bas-relief by Giò Pomodoro is on the front cover  

La lune en rodage II
 
1965, Editions Panderma – Carl Laszlo, Basel, cm 33x35  
Edition of 150 exemplars in Arabic numbers from 1 to 150 plus some not-for-sale ones reserved for fellow contributors.
The volume contains 64 works (58 signed) by: Vasarely (2), Hundertwasser, Sonnenstern, Kuschnerus, Leblanc, Panderma Manifest (2), Capogrossi, Bacci, Claisse, Jacobs, Onorio, Koethe, Goepfert, Jaeger, Megert, Del Pezzo, Kemény, Hsiao Chin, Garstka, Industrie-Form, Lijn, Diter Rot, G.R.A.V., Philips, Travaglini, Macciotta, Braer + Streifeneder, De Luigi (labelled as Daluigi), Graumann, Wunderlich, Dufrêne, Reuterswaerd, Sobrino, Milani, Bertini, Bayrle, Alvermann, Uecker, Villeglé, Morellet, Panderma 2, O’Brien, Kassák, Weber, Bertholo, Lenk, Vandenbranden, Jugendstil-Entwurf, Ducman, Alcoy, Martinazzi, Biasi, Lurdes, Alessandri, Buja, Leissler, Dorazio, Yvaral,Belloli and Ferro.  
A bas-relief by Talman is on the front cover  

La lune en rodage III
 
1977, Editions Panderma – Carl Laszlo, Basel, cm 33x35  
Edition of 150 exemplars in Arabic numbers from 1 to 150 plus some not-for-sale ones, reserved for fellow contributors.
This one is number 064.

The volume contains 54 works (49 signed) by: Timm Ulrichs, Morandini, Buchholz, van Dyken, Arntz, Müller-Brittnau, Neusüss, Dreyer, Thomas Ring, Christian Schad, Laloy, Tschinkel, Cerroni, Beck, Wauer, Gritzner, Kocsis, Raetz, Kassák, Wirth, Perez, Alviani, Milet, Cacciola, Thilo Maatsch, Wiederkehr, Hersberger, Otto Nebel, Oblonsky, Kosnick-Kloss, Apollonio (labelled as Apollonia), Stämpfli, Fifo, Kesting, Krenn, Béothy-Steiner, Colombo, Albrecht, Hanko, Tornquist, Grützke, Kovács, Gallina, Dudé, Valeska Gert, Schmitz, Dexel, Andrées, Lou Loeber, Seyde, Sarasin, Eemans, Mikesch and Fajó.  
A bas-relief by  Getulio Alviani is on the front cover 

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