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Dupuy, Jean
Video ergo sum.
[Southern France], 1988.


#17047. Black acrylic paint applied to white cloth (19 x 22 cm.). Rough edges to three sides of cloth, as typical, with short tear to top-right corner (2 cm.); not affecting composition. Dupuy's name supplied as anagram (YPUDU) via blue hand-stamp to lower-left, followed by date in black ink.



Trading Paris for New York in 1967, Jean Dupuy took the opportunity to refashion his aesthetic, leaving behind his early pictorialism to explore the conceptual possibilities afforded by video and installation art. He achieved almost instantaneous success, winning the competition organized by E.A.T. (Experiments in Art & Technology), via which his Heart beats dust installation was included in MoMA's classic 1968 exhibition, The machine. By the 1970s, working closely with George Maciunas, Dupuy was curating “shows collectif” in his SoHo loft, with the likes of Charlotte Moorman, Nam June Paik, Laurie Anderson, Claes Oldenburg, Charlemagne Palestine, Philip Glass, Gordon Matta-Clark, Richard Serra, and Carolee Schneemann.

By 1984, Dupuy had crossed the Atlantic once more, to embark on a new phase in which he worked intimately with paint, cloth, and language; through the labyrinths of anagrams—much like Tristan Tzara, at the end of his life—and the productivity of language disorders, such as stuttering and palialia.

The present artwork issues from a series of language-paintings and installations that Dupuy executed from 1988-1989, repeating the same mantra: video ergo sum. Our post-modern condition, summed-up in three words.

With one other instance of this composition discovered at the Hood Museum of Art.

For more Dupuy, see this invitation for an exhibition of Heart beats dust at Galerie Sonnabend.




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1000 USD

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