When Sarah Lombardi, director of the museum, gave Michel Thévoz – in charge of La Collection de l’Art Brut from 1976 to 2001 – carte blanche for a temporary exhibition, Art Brut: Frame Work was born: an exhibition exclusively composed of works from themuseum's collection. Approaching the frame from an unexpected angle, Art Brut: Frame Work urges a rethinking of one of the transcendental norms of our culture. Taken in its broadest sense, the frame performs a primal, fundamental function in the human psyche, shaping an imaginative space at once narcissistic, playful, social, environmental and aesthetic. So thoroughly coextensive with our sensibility and understanding has the frame become that we no longer possess the objectivity needed for an awareness of it – except through the impact of Art Brut as a revelatory form of disruption. Is it the pathological that casts light on the normal? Or the opposite: can the anomalous bring a collective neurosis to the surface? Whatever, the task of this exhibition is to foreground singular, disconcerting treatments of the frame: centripetal or centrifugal, protective or invasive, mediatory or discriminatory, uplifting or parodic, marginal or elemental. Working on the fringes of the official art field, practitioners of Art Brut are by definition not subject to our cultural conventions. They know no rules or norms and the works chosen for this exhibition are in particular marked by a problematic relationship with any kind of frame: in the literal sense of the wooden frame surrounding a composition, the framing defined by the shape of the support, and sometimes a frame drawn or painted by the artist; but figuratively as well, in the sense of the "framework" as the sum total of art's representational conventions. In most cases the concept of an orthogonal boundary is shattered. Some artists resort to such unorthodox supports as salvaged materials, torn paper, bits of cardboard, paper handkerchiefs and cloth serviettes. To reject imposed frame(work)s is to resist acculturation; and this is what Art Brut is all about.
Curator: Michel Thévoz
With artworks by :
Aloïse (Corbaz), Carol Bailly, Dominique Bertoliatti, Clément-Marie Biazin, Boris Bojnev, Charles Boussion, Frédéric Bruly Bouabré, François Burland, Joseph Crépin, Paul Duhem, Paul End, Samuel Failloubaz, Yves-Jules Fleuri, Jules Godi, Helga Sophia Goetze, Gustav, Magali Herrera, Joseph Heuer, Émile Josome Hodinos, Josef Hofer, Vojislav Jakic, Pierre Kocher, Hans Krüsi, Madeleine Lanz, Gérard Lattier, Aleksander Pavlovitch Lobanov, Marcomi, Reinhold Metz, Jakob Morf, Hidenori Motooka, Masao Obata, Italo Perugi, Giovanni Battista Podestà, Guillaume Pujolle, André Robillard, Johann Scheiböck, Judith Scott, Théo, Jean Tourlonias, Ofelia Valeiras, Pépé Vignes, August Walla, Aloïs Wey, Scottie Wilson, Josef Wittlich, Adolf Wölfli
The "Art Brut: Frame Work" show in the medias:
Edward M. Gómez, Raw Vision, novembre 2020, Raw Review: PATHOLOGIE DU CADRE: QUAND L’ART BRUT S’ÉCLATE
RTS, la 1ère, émission "Le grand soir", 12.11.2020
Artension, Françoise Monnin, Michel Thévoz-entretien, novembre-décembre 2020
Le Matin Dimanche, Michel Audétat, "MIchel Thévoz résiste à l'ordre orthogonal", 22 novembre 2020
RTS, émission Vertigo, "Cadre? What a Frame!", lundi 7 décembre 2020
24Heures, Florence Millioud-Henriques, "L'Art Brut explose le cadre", 12.12.20
Bon pour la tête, Yves Tenret, "L'Art Brut hors cadre", 19 janvier 2021
Lacritique.org, Claire Margat, "Les métamorphoses du cadre", 4 février 2021
Le Journal des Arts, Ingrid Dubach-Lemainque, "Une exposition qui sort du cadre", 5 février 2021
La Liberté, Aurélie Lebreau, "Déborder la cadre", 19.12.2020
Bilan, Etienne Dumont, "Le cadre dans tous ses états s'invite à la Collection lausannoise de l'Art Brut", 25.12.20
L'Agenda, Athéna Dubois-Pèlerin, "Cadre de vie", mars-avril
