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BROSSARD, Nicole et Christian JACCARD

Mécanique Jongleuse

[Paris], Collection Génération (Génération 11, Gervais Jassaud) [1973]

FINE COPY OF THE “AVANT GARDE” OF THE 1970S : UNDER THE INFLUENCE OF SUPPORTS/SURFACES.

ONE OF THE FIRST BINDINGS BY JEAN DE GONET WITH APPARENT RAISED BANDS : THE STRUCTURE OF THE BOOK IS THUS HIGHLIGHTED LIKE THAT OF BEAUBOURG, WHICH HE SAW THE CONSTRUCTION OF FROM HIS WORKSHOP.

COPY OF JEAN PARIZEL

FIRST EDITION

In-4 (235 x 195 mm)
TIRAGE : l'un des 20 premiers exemplaires sur chiffon de Puymoyen blanc, celui-ci numéroté 13
ILLUSTRATION : 2 lithographies hors-texte de Christian Jaccard, chacune justifiée et signée au crayon au dos

SIGNED AUTOGRAPH INSCRIPTION in pencil by Christian Jaccard :

à Jean Parizel

ILLUSTRATION ORIGINALE AJOUTÉE de Christian Jaccard :
1. RELIEF de cordage de Christian Jaccard monté en encadrement du faux-titre
2. TRIPLE FROTTAGE en gris à pleine page, sur le titre et les gardes, l’un en creux et deux en relief, sur trois pages, de ce même relief de cordage

RELIURE SIGNÉE DE J. DE GONET (sous le pseudonyme de J. Terme) et datée de 1973 RÉALISÉE POUR JEAN PARIZEL. Veau corail, évidement de pastilles ovales le long des mors de chaque plat laissant apparaître chaque nerf sur un fond de mosaïque polychrome, les pièces emportées rabattues côté chair, dos long, gardes et gardes volantes de vergé bleu, couverture conservée, monté sur onglet, non rogné. Chemise et étui bordés de veau corail
PROVENANCE : Jean Parizel (cat. II, 1990, n° 62) -- collection Marc Litzler (Paris, 20 février 2019, n° 237)

“The text of Mécanique jongleuse, Quebecer strangulation by Nicole Brossard, is the eleventh involvement of the Génération Collection”. “Jongler”, in Québécois, the language of Nicole Brossard, also means “to dream”. This collection obtained the Governor General of Canada’s award in 1974.

The initiative for this book comes from the publisher Gervais Jassaud. He was born in 1944 and was a remarkable book architect in the line of Ilizad. He started publishing artists’ books in 1969 by creating the magazine Génération, which would become “Collection Génération” editions in the early 1970s. Marked by the Supports/Surfaces movement of which he was one of the promoters, Jassaud questioned the book as other members of this collective questioned painting and sculpture. He would request a text from an author and illustrations from an artist. He personally intervened in the layout. Works were hence created “similar but not identical”, as he wrote in his colophons, based on the work of five contributors : the publisher, the artist, the writer, the printer and sometimes the bookbinder, like Jean de Gonet here. Orchestrating the whole thing, the publisher is the architect of the book and his field of action is the layout. He is also very present at all the levels of creation – he guides the artist, arranges the author’s text and contributes to the page to arrive at the total book, the global book.

Nicole Brossard the author was born in Montreal on November 27, 1943. She is a Quebecer poet, novelist and dramatist as well as a committed feminist and LGBT militant. She wrote her first collection Aube à la saison in 1965, and participated in the magazine La Barre du jour to which she remained associated until 1979. From 1975 on, she became involved in the feminist fight and her poetry became more personal. She founded a feminist newspaper Les Têtes de pioches and in 1982, founded a publishing house : L’Intégrale éditrice. There are two poles in her writing : on the one hand, modernism and its avant-gardism, and on the other, a militant, more sensual, suggestive writing, demanding female homosexual freedom. Nicole Brossard’s archives are kept at the Bibliothèque de Montréal and at the Archives Nationales du Québec.

Christian Jaccard the artist, was born in 1939 and today lives in Japan. At an early age, he learned the Manuel du gabier (Manual of the Topman) and the practice of camp fires. He collected fossils as a high school student in 1954 : the unfailing traces of time appealed to him. From 1964 to 1975, he was a chromist engraver at a typographical printing works, which incited him to explore the processes of impregnation linked to the manufacture of specific tools, knots & ligatures for example. Between 1968 and 1973, he studied the canvas/tool relationship and obliterated tied canvasses, cross-folded canvasses, and calcinated canvases. Jaccard very quickly perturbed the classical or traditional act of painting. Free from any frame, placed on the ground, the canvas is printed with the help of what they call “tools” : natural objects (plants and insects), paper, ribbon. His work placed him in line with the preoccupations close to those of the Supports/Surfaces group (which he was not a part of).

The bookbinder Jean de Gonet, no longer needs to be presented. From his workshop, he watched the construction of the Georges Pompidou Center follow the plans of architects Renzo Piano and Richard Rogers. The useful structures of pipes and conduits that are normally hidden became the work itself, still visible today. The support became the surface. It then became a case of undressing the binding : Jean de Gonet made raised bands visible.