89:'Dimanche combines appropriation, performance, actionism, conceptual art, and photo-montage all in one, and hints at this range of art movements just then coming into existence. It takes the form of a one-day newspaper, designed as an alternative to the regular Sunday paper, and includes texts and visual works by Klein, including his manifesto, "Theatre du Vide" (Theater of the Void). The photograph, captioned "Un homme dans l'espace" (A man in open space) depicts the artist leaping from his dealer's second-story window into the void. It inspired numerous artists to explore their bodies as a medium for art.'
228:; In order to promote the feeling and matter without the intermediary of energy, spectators pass through 5 rooms, their feet bound by ball and chain. 9 monochrome blue paintings of the same format are in the first room; the second room is empty and entirely white; nine monochrome gold paintings of the same format are in the third room; the fourth room is empty and dark, almost black; 9 monochrome pink paintings of the same format are in the fifth room.
234:; Having practiced levitation and attempted a kind of purifying sublimation by which he would free himself from the exasperation of the ego, and having created or proposed various aerostatic sculptures that were free from the enslavement of pedestals, Klein presents himself on stage stretched out in space a few meters above the ground for 5 or 10 minutes. The performance takes place without commentary.
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222:; For one performance, any play will be presented upside down. All the actors will have their feet on the ceiling and their heads hanging down. This will be possible by trickery. All the furniture will also be on the ceiling, which will really be the floor. A chandelier will therefore levitate in space.
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from a Judo School opposite, holding a large tarpaulin to land on. Klein himself was a 4th Dan Judo Master. Shunk then montaged a shot of the empty street onto the photo. In fact there were 3 versions of this photo produced; one with Klein's 2CV was never used; the one with a train and a cyclist was
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movement, happenings, performances, and body art, each in its own way, was structurally related to work. What these streams had in common was an incentive to discover a mode of creativity that transcended national frontiers, to define its aesthetic criteria, and to disseminate the results. In this
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According to Klein, the intention was to declare the entire 24-hour period an international theatrical happening, 'a holiday, a veritable spectacle of the void, at the culminating point of my theories.' Merging art and life seamlessly, Klein's theatre would encapsulate each spectator's life as they
183:"I am the painter of Space. I am not an abstract painter but, on the contrary, a figurative and realist painter. Let's be honest, in order to paint space, I must put myself on the spot, in space itself." Yves Klein, quoted underneath the photo 'Man In Space' on the front cover of Dimanche
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216:; The setting is a bedroom. The scene opens with a man asleep in a big bed. The actor must really be sleeping. Each performance lasts about 10 minutes and in silence. There is to be applause at the end.
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These pieces hover between the possible and the imaginary, establishing that the pieces aren't meant to exist literally, but in the mind of the reader. This prefigures many of the concerns of
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Whilst some of the pieces relate to earlier writings and statements by Klein, most were written in a hectic four-day period immediately prior to publication, in a bar with friends.
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used for
Dimanche; the third with an empty street and without the train was requested by Klein himself the next day to be used in the forthcoming catalogue for his retrospective at
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The most famous section of the book was the photographic collage, published with the caption 'The painter of space throws himself into the void! ' but usually known as the
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process, Klein figured in the classical role of emissary, heralding a new culture to come- invisible to the eye, yet universally present nonetheless." Hannah
Weitemeier
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lived it on that day. Several thousand copies were printed and distributed to news stands throughout Paris, with the help of Klein's friends. The artwork cost 0.35
118:) at the Palais des Expositions, Porte de Versailles, Paris. Taking the form of a parody of the French newspaper 'Journal du Dimanche', the Sunday edition of
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179:. This strategy of employing two versions of the same montage, effectively bringing attention to the deception was typical of Klein's artistic strategy.
170:, was montaged from a number of photos. The leap itself took place at 3 Rue Gentil Bernard, Fontenay-Aux_Roses, in October 1960, using about a dozen
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for one day only, as well as being handed out at a press conference held by Klein at the
Galerie Rive Droite at 11.00am on the same day.
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747:, Edition Figuière, Paris, 1912 (First English edition: Cubism, Unwin, London, 1913)
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As well as declarations of intent, the book contains a series of theatre pieces,
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Un Homme Dans L’Espace-Le
Peintre de l’Espace se Jette Dans le Vide!
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Man In Space! The
Painter of Space Throws Himself into The Void!
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La prose du
Transsibérien et de la Petite Jehanne de France
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La
Peinture et ses lois, ce qui devait sortir du Cubisme
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Quoted in Yves Klein, Sidra Stich, Hayward
Gallery, p217
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French; 'Le peintre de l'espace se jette dans le vide'
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Yves Klein, Berggruen, Hollein, Pfeiffer, Hatje Kantz
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Yves Klein, Berggruen
Hollein, Pfeiffer, Hatje Kantz
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260:hailed him as the father of conceptual art; the
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769:, Paris, 1924 (published in English in 2000)
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210:. Pieces contained within the book include;
122:, the book presents Klein's ideas about the
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245:monochrome painting, and some sketches of
130:) and was the first time the famous photo
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550:Zones of Immaterial Pictorial Sensibility
285:Zones Of Immaterial Pictorial Sensibility
398:Klein By Hannah Weitemeier, Taschen, p51
301:Yves Klein, Sidra Stich, Hayward Gallery
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56:Sunday - The Newspaper for Only One Day
66:. Taking the form of a 4-page Sunday
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712:Songs of Innocence and of Experience
51:Dimanche - Le Journal d'un Seul Jour
985:25 Cats Name Sam and One Blue Pussy
705:Très Riches Heures du Duc de Berry
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1099:City as an Artist's Subjectivity
1092:Die-Cut Plug Wiring Diagram Book
636:(co-founder of Nouveau réalisme)
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110:The work was part of the second
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355:Yves Klein, Hannah Weitemeier,
94:The festival of avant-garde art
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490:ANT 82, Blue Age Anthropometry
166:. This photomontage, taken by
102:A parisian news stand selling
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112:Festival d’Art d’Avant-Garde
19:For the animated short, see
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116:Festival of Avant-garde Art
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202:) that prefigure various
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243:International Klein Blue
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335:Quoted from Dimanche
77:An early example of
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200:Theatre of the Void
189:Theatre of the Void
128:Theatre of the Void
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553:(1959–1962)
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120:France Soir
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1115:Categories
1053:Grapefruit
999:A Humument
873:Surrealism
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467:Yves Klein
293:References
208:happenings
68:broadsheet
64:Yves Klein
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288:, 1959–62
220:Inversion
1060:Fluxus 1
965:Dimanche
944:MĂ©moires
905:Lettrism
792:Futurism
630:(mother)
624:(father)
558:Dimanche
270:See also
104:Dimanche
58:) is an
41:Dimanche
33:Dimanche
976:Pop Art
604:Related
357:Taschen
177:Krefeld
172:Judokas
1010:Fluxus
774:Klänge
727:Cubism
618:(wife)
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545:(1954)
517:(1962)
509:(1961)
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482:IKB 79
280:, 1954
262:fluxus
144:Francs
46:Sunday
35:, 1960
958:Linee
823:BLAST
588:Color
569:Music
359:, p51
312:Notes
214:Sleep
72:Paris
1012:and
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155:The
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