Jean-Jacques Lebel and the Festival of Free Expression (1964-1967)

让-雅克·勒贝尔和自由表达节（1964-1967）

• 批准号: AH/E005071/1
• 负责人: Alyce Mahon
• 金额: $ 2.73万
• 依托单位: University of Cambridge
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2007
• 资助国家: 英国
• 起止时间: 2007 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FE005071%2F1
• 关键词: Jean; Jacques; Lebel; Festival; Free

The aim of my research is to produce the first book-length study of the performance art of Jean-Jacques Lebel, a key figure in the evolution of post-war French avant garde art from the dominance of the Surrealist movement (of which he was a member 1956-1959) to the political engagement of May '68, an event of worldwide historical and cultural significance with whose fortieth anniversary the publication of my book in 2008 is intended to coincide. I hope to contribute to our understanding of that era by exploring a body of artwork that was explicitly political in its engagement with the conservatism and imperialism of Gaullist France and of the Vietnam War-era United States. I will argue for the central (though heretofore unrecognised) importance of Lebel to the development of new modes of performance-based art which defined the 1960s and especially to a new wave of collaboration between Paris-based and New York-based artists in that era. Existing literature in the field is led by Roselee Goldberg's monograph Performance: Live Art Since 1960 (1998) and Kristine Stiles et al's exhibition catalogue Out of Actions: Between Performance and the Object, 1949-1979 (1998). The former, however, is a broad international survey and lacking in socio-historical analysis and theoretical elaboration; the latter is a collection of essays with a relatively broad historical frame of thirty years. My aim in carrying out this research project, therefore, is to make a decisive contribution to the surprisingly slight critical literature in the field with a book which does justice to the innovation and creativity of Lebel's art, contributes to our understanding of the history of modern art and of post-war France, and enriches our knowledge of the international cultural history of the 1960s as a distinctive era.The potential applications and benefits of my research project are: an innovative critical study of a relatively neglected but highly important tendency in modern art of the 1960s, the Happening. The book will be of interest to students and scholars of art history, French history and culture, and of the Sixties. It draws upon entirely new archival research and interviews relating to a body of performance-based art work about which no significant publication yet exists.This research project builds upon my research monographs, Surrealism and the Politics of Eros, 1938-1968 (Thames & Hudson, 2005) and Eroticism and Art (Oxford University Press, 2005), both of which also examine the art and politics of post-war France. I already have considerable expertise on the art of Jean-Jacques Lebel: the fourth chapter of the former book addresses his performance '120 Minutes dedicated to the Divine Marquis' (1966); Lebel, Carolee Schneemann, Yoko Ono and performance art of the 1960s in Paris and New York are discussed in chapter 7, 'Eros and the 1960s', of the latter book. I have also published one catalogue essay and one other book chapter on Lebel: 'Outrage aux bonnes moeurs: Jean-Jacques Lebel and the Marquis de Sade', in Jean-Jacques Lebel, Paintings, Sculptures, Installations, Vienna: Museum Moderner Kunst, 1998; and 'Jean-Jacques Lebel: Anti-Sculpture and Anti-Psychiatry', in Sculpture and Psychoanalysis, Brandon Taylor (ed.), London: Henry Moore Foundation and Ashgate Publishing Company, 2006. Apart from the above, little has been published on Lebel in English, although his importance is increasingly recognised and he recently held a retrospective at the Mayor Gallery, Mayfair, London (5 November-19 December 2003).

我的研究目的是对让-雅克·勒贝尔（Jean-Jacques Lebel）的行为艺术进行第一本书长度的研究，他是战后法国前卫艺术从超现实主义运动（1956-1959年他是其中的一员）的主导地位演变到1968年5月政治参与的关键人物，这是一个具有世界历史和文化意义的事件，2008年我的书的出版恰逢其四十周年纪念日。我希望通过探索一系列与戴高乐主义的法国和越南战争时期的美国的保守主义和帝国主义有明确政治关系的艺术作品，为我们对那个时代的理解做出贡献。我将论证勒贝尔对行为艺术新模式发展的核心重要性（尽管迄今尚未得到承认），这种新模式定义了20世纪60年代，尤其是对那个时代巴黎和纽约艺术家之间合作的新浪潮。该领域的现有文献以Roselee Goldberg的专著《表演：1960年以来的现场艺术》（1998）和Kristine Stiles等人的展览目录《行动之外：1949-1979年在表演和对象之间》（1998）为主导。然而，前者是一个广泛的国际调查，缺乏社会历史分析和理论阐述；后者是一个具有相对广泛的三十年历史框架的散文集。因此，我开展这项研究项目的目的是，通过一本公正地评价勒贝尔艺术的创新和创造力的书，为该领域令人惊讶的轻微批评文学做出决定性的贡献，有助于我们对现代艺术史和战后法国的理解，并丰富我们对20世纪60年代作为一个独特时代的国际文化史的了解。我的研究项目的潜在应用和好处是：对20世纪60年代现代艺术中一个相对被忽视但非常重要的趋势进行创新的批判性研究，即发生。这本书将对艺术史、法国历史和文化以及60年代的学生和学者感兴趣。它借鉴了全新的档案研究和访谈，这些研究和访谈涉及到一系列尚未出版的行为艺术作品。这个研究项目建立在我的研究专著《超现实主义和爱欲的政治，1938-1968》（Thames & Hudson出版社，2005年）和《情色与艺术》（牛津大学出版社，2005年）的基础上，这两本专著也都研究了战后法国的艺术和政治。我已经对让-雅克·勒贝尔的艺术有相当的专业知识：前一本书的第四章讨论了他的表演“献给神圣侯爵的120分钟”（1966）；Lebel, Carolee Schneemann， Yoko Ono和1960年代在巴黎和纽约的行为艺术在后一本书的第7章“Eros和1960年代”中进行了讨论。我还发表了一篇目录文章和关于勒贝尔的另一本书章节：“bonnes moeurs的愤怒：让-雅克·勒贝尔和萨德侯爵”，在让-雅克·勒贝尔，绘画，雕塑，装置，维也纳：现代艺术博物馆，1998；《让-雅克·勒贝尔：反雕塑与反精神病学》，布兰登·泰勒主编，《雕塑与精神分析》，伦敦：亨利·摩尔基金会和阿什盖特出版公司，2006年。除此之外，关于勒贝尔的英文作品很少，尽管人们越来越认识到他的重要性，他最近在伦敦梅菲尔的市长画廊举办了一次回顾展（2003年11月5日至12月19日）。