Thursday, July 26
Jacques Lizène - Sculpture nulle (1980) & Meuble découpé (1964)
[His] political-sociological perspective was in many respects an inheritance of the Fluxus movement, even though Lizène, who was already active during the middle of the 1960s, prefers to designate his own work as “Non-Fluxus.” The distinction, according to Lizène, is found in the overall tone: whereas Fluxus practically embraces life, Lizène opposes to it, with a tongue-in-cheek attitude he embodies the “vasectomy” and the “infantilism”. It is just as tempting to trace a direct link to the derisory dimension of Dadaism, but rather than raving about the intellectualism of the Dadaists, Lizène prefers to situate himself within the “banlieu” of art. The self-appointed “minor master of Liège from the 2nd half of the XXth century” builds his work – sculptures, video, … – around the idea of mediocrity, because it is, after all, “very generous, since it allows everything to exist”. He always refers to his projects, products of the virtual ‘institut de l’art stupide’, as “easy”, “unimportant” or “ridiculous”
