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Emmanuel Flipo (born 1958 inAgen) is a French artist, who currently lives and works inMontreuil andPézenas.
Flipo studied at the Ecole des Beaux-Arts inToulouse in 1977. From 1978 to 1982, he continued his studies at the Ecole des Arts Décoratifs inNice. For the following decade, he operated a drawing school inPézenas.1993 E. After his first trip toNew York City, where he metAndré Emmerich and Ouattara, he regularly returned until 2003 for work. In 1997 he founded the movement "la colectiva."[1] In 2001 he had a significant influence on the founding of the center of contemporary art "Stop Art" C.A., USA. Finally, in 2003 Emmanuel Flipo founded "L'Usine 64" inMontreuil – a transformed abandoned factory – and created his studio there. Since then, he has spent winters at Usine 64 and summers at his studio inPézenas.[2]
The series "Etude topographique" is one of the most extended by Emmanuel Flipo. It is composed ofwatercolor paintings andcollage works created from found materials.[3] Influenced by Asiancalligraphy and Russianconstructivism, Flipo developed his topographic studies by creating a particular combination of shapes, subtle lines, and free spaces. He names his artistic vocabulary "figuration particulière and moléculaire". Based on the idea that the artist should stay out of focus, Emmanuel Flipo operates rather than "medium" for the cycle "Etude topographique." (According to the ideas of the French artistic movementSupports/Surfaces meaning that the work itself should be focused - and not the artist.) Most of the forms and colors – created by found colors, leaves, feathers, rests of wallpapers – remind the spectator of an accident or coincidence. The used material mix results in surface structures full of suspense.[citation needed]
Most of the large-scale collage works by Emmanuel Flipo are implicated in the "Etude topographique." For this cycle, Flipo combinescollage,painting, anddrawing. The artist refers once more to the French artist group for these works. Amongst others, the artists of Support/Surfaces deal with the democratization of the found or purchased materials, the creative process, and the final piece.
For his collage works, Flipo uses only found materials such aslinoleum, card or wooden boards, colors, coffee, and leaves. Filipo creates a multilayered surface, referring to each material's history anderosion. Due to time, this artwork modification is integral to Flipo's work.[4]
Emmanuel Flipo realized his firstperformance, called "El Nino," in 1996 inNew York City on 53rd street, which dealt withgeopolitics and global warming.[5] By performing, Flipo becomes a part of the artistic work, and the creative process is centered. Only the documentation stays for an audience who didn't participate in the performances itself, like in the works ofJoseph Beuys - analyzed by Flipo in detail, especially his notion ofGesamtkunstwerk and the rapport of life and art. On the occasion of theperformances films are realized. These films, as well as the relics, are declared as artworks. Furthermore, photos by artists Igor Vishnyakov or Jonathan Abbou, invited by Flipo to his performances, are part of the final work. Through the intentional involvement and the exclusion of the spectator, the application of music, fire, water, and earth, Flipo continues his occupation with the circle of life and related subjects and creates spaces far over the seen elements.[3]
On the occasion of the 15th Conference of the Parties in Copenhagen in 2009, Emmanuel Flipo drew one of his modelized representations of the world using pigments thrown to the wind.[6] The performance, "La Niña," was performed in front of an audience in theSankt Hans Torv in Copenhagen. It aimed to bring public awareness of future upheaval and the grave environmental problems threatening the planet. With its urban proportions, the artwork utilized geographical dimensions, with aerial and terrestrial photographs giving the public an idea of the different scales used.[7]
2010 : Squat Rivoli, Paris / France
2007 : Usine 64, Montreuil
2002 : Centre d’Art « Stop Art », San Jose, California
1999 : Galerie Rodriguez Degranier, New York
1992 : CRDC, Rosny-sur-Seine
1988 : Galerie Hélène Trintignan, Montpellier
2017 : Art Compulsion, Montpellier
2009 : "Le Carré dans l‘Art", Galerie Blumann, Paris / France
2009: Studio of Jonathan Abbou, Montreuil
1987 - 1990 : Artist of the Gallery Blackman Havey, London
1988 : Galerie Clavé, Guadalajara, Mexico
1986 : Galerie Hélène Trintignan, Montpellier
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