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François Dufrêne (1930-1982)



Crirhythms, Osmose-Art and Various Works

  1. Köchel que j'aime (9:36)

  2. Le cheval lié à l'Art Rose (12:38)

  3. Eryximaque, suite choréographique au Tombeau de Pierre Larousse (7:22)

  4. Lecture-collage: La ressource du petit peuple & Tenilom, de Jean Molinet (18:56)

  5. Belles nuisances, hantez nos nuits (10:53)

  6. Comptinuum (10:59)

Catalogue tracks include the fantastic crirhythm from 1970 titled 'Belle nuisances hantez nos nuits,' the complete 'Osmose-Art' from 1969 where crirhythms are superimposed to classical music, 'Eryximaque' and two 'Lecture-collage' from 1965 as well as the 1958-70 'Comptinuum.'


Various Tracks

1. Ouverture sans fin, post-scriptum au tombeau de pierre larousse (PS AU TPL)
October 1961, Phantomas #38-40, Bruxelles, May 1963 (6.10)

2. Un rètour à mes sources (1971) (10:25)

3. La Valse (1958) (3:45)

4. Batteries vocales" Crirythme (1958)

5. Paix en Algérie" Crirythme (1958)

6. "Tenu-tenu" Crirythme (1958)

7. "Crirythme pour un double anniversary, dedie a Ginette et Anouj" (1969)

8. "La Guitare" (1969)

9. "PostcriRYTHptum" (1974)

10. Ralentissez

11. "Triptycrirythme" (1966)

12. "Dédié à H. Chopin" Crirythme (1967)


NOTES

Track 1 recorded in Paris, April 1973, From the CD lunapark 0,10 (Sub Rosa Aural Documents SR80), Edited by Marc Dachy

Tracks 2, 3 from the LP Futura Poesia Sonora Cramps Records, Milan)


Tracks 4, 5, 6 from OU 23-24.

Tracks 7, 8, 9, 10 from Ouevre Disintegrale vol. 1 Edition Guy Schraenen, France, 1974

Track 11 from OU 28-29

Track 12 from OU 33



"François Dufrêne (1930-1982) is one of the leading artists from the post-war European and French art scene. He played a key role in many of the initiatives of Lettrism, Nouveau Réalisme and sound poetry. In François Dufrêne's oeuvre, art and poetry intersect in a reciprocal experimentation of the possibilities of transgression of their specific grammars. His oeuvre constitutes a singular example of this special relationship between art and language, which throughout the 20th century proved to be one of the most fertile grounds for expanding the limits seemingly imposed on Western art via the history of artistic genres. Many of his artistic creations use objects retrieved from the urban context, such as posters or stencils, or use the voice in non-linguistic contexts. Examples of the latter include his creation of the crirhythm, wherein he reinvented sound poetry and the relationship between performance and text. The present catalog attempts to present François Dufrêne's work as a totality, wherein it would be artificial to separate his status as a poet from that as a visual artist. Poems, books, records, recordings, reverse sides of posters, stencils, films and photographs documenting the artist's actions are combined together in a mosaic that makes it possible to reinterpret François Dufrêne's work as one of the most singular adventures of his epoch, and also re-evaluate the relevance of the challenges he posed to contemporary culture.

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François Dufrêne was born in 1930 in Paris. He took part in all the manifestations of the Lettriste movement from 1946 to 1953, when he withdrew to found "Ultralettrisme" (vocal concrete music), based on spontaneity and direct recording on to tape, without a' score. His "Crirythmes" were presented at numerous sound poetry festivals and about a dozen were recorded on gramophone records between 1962 and 1975. His publications: "Tambours durgement premier" sham film without screen or film ( Ion, Paris, 1952), "Tombeau de Pierre Larousse" (Grammes, Paris, 1958), "Recitativo all'italiana" (Edizioni dell'Albero Poeta, 1970), "Inutiles notules" for Daniel Spoerri's "L'Optique moderne" (1963), "Comptinuum" (some pieces published in the magazine "Bizarre", 1964). Also a plastic artist, linked with Hains and Villeglé, lie has exhibited "Dessous d'affiches" since 1957 and taken art in all the exhibitions of the "Groupe Nouveau Réaliste" since 1960. Since 1973 he has also exhibited "Dessous de stencils" and "Bibliothèques" in cellulose.



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