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Editorial, 2017, Denys Riout

"Bodies, flesh and imprints", by Denys Riout

Having immaterialised blue, having gone beyond the problem of art, can we go any further? Probably not, but going elsewhere is certainly possible. And that's exactly what Klein did. Alongside the monochrome/immaterial pictorial sensibility axis, he never stopped exploring other paths, conquering hitherto unknown domains and inventing possible territories. At the very moment when he deprived the monochrome painting of matter, he gave painting an unexpected physicality. On 5 June 1958, shortly...
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Editorial, 1960, Yves Klein

"I have been painting (...) from models", excerpts from writings

"I have been painting already for several years most often from models and even with the effective collaboration of models. Indeed, for a long time I have wondered why figurative painters or even sometimes abstract painters such as Fautrier, for example, feel the need to paint nudes. To simply seek out a living human form to draw and to copy after nature was not good enough a reason for me; I felt that there must be something else. The nude model brings sensuality into the atmosphere. Careful:...
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Editorial, 1957, Yves Klein

"Judo (...) is the human body's discovery of a spiritual space", excerpts from writings

"When I paint (...) I feel like a Judo champion before the fight".Yves Klein, The Evening Standard, 25 juin 1957"I've often been asked if judo played a role in my pictorial conception. Until now, I've always replied that it didn't. In fact, that's not true. In fact, that's not true: judo has given me a lot, I started almost at the same time as my painting. Both have lived with me as I live with my physical body!Here's what I know about judo:Firstly, a major principle: "have the spirit of...
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Editorial, 1960, Yves Klein

"A Man in Space !", extrait de Dimanche 27 novembre 1960 "Le journal d'un seul jour"

A Man in Space !The painter of space leaps into the void! The monochrome man who is also champion of judo, black belt 4th dan, practices regularly dynamic levitation! (with or without a net, at the risk of his life). He claims to be able to join up with his preferred work in space soon: an aerostatic sculpture, composed of one thousand and one blue balloons, which will take off from his exhibition in 1957 into the sky of Saint-Germain-des-Prés never again to return! To liberate sculpture from...
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Editorial, 1959, Yves Klein

"Blue has no dimensions", excerpts from writings

"Just an adolescent in 1946, I went to sign my name on the underside of the sky during a fantastic realistico-imaginary journey. That day, as I lay on the beach at Nice, I began to hate the birds which occasionally flew in my pure, unclouded blue sky, because they tried to bore holes in my greatest and more beautiful work." Yves Klein, excerpt from the Chelsea Hotel Manifesto, 1961 "In 1955 I exhibited in Paris twenty monochrome paintings of different colors. On that occasion I immediately...
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Editorial, 1959, Yves Klein

"What pleased me above all were pure pigments in powder form", excerpts from writings

"How do I get there, while still drawing from the pictorial norms that I have constructed? For painting, I have long searched for a fixative medium to expressly fix each grain of pigment that make up the radiant and dazzling mass found in the bins of the merchants of color. It is quite dismaying to see this same pigment, when milled in oil, for example, lose all its brilliance, all its essential vitality. It seems as if mummified; nevertheless, one cannot leave it on the ground, held by the...
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Editorial, 1960, Yves Klein

Yves Klein, "On the Monochrome", excerpt from the Monochrome Adventure: the monochrome epic

Never using the line, one has been able to create in painting a fourth, fifth, or whatever other dimension – only color can attempt to succeed in this exploit. The monochrome is the only physical way of painting – permitting us to attain the spiritual absolute. If we imagine that cinema always existed, that one only knew moving pictures, then the creator of a fixed image would today have been considered a genius! Young painters such as Alberto BURRI, TAPIÈS, MACK, DAWING, JONESCO, PIENE,...
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Editorial, 2012, Elena Palumbo-Mosca

Anthropometries, interview with Elena Palumbo-Mosca

"I met Yves when I was working and living in Nice. This collaboration came much later when we both lived in Paris. Yves was always experiencing new ways of expressing what he wanted to say and what he felt he had to say. For me it was quite easy to do it because I was used to using my body and I could execute with a certain precision what he asked me to do.People have criticised the work since, the way that he used naked female models as instruments in his work and they were called living...
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Editorial, 1958, Yves Klein

Yves Klein, Speech to the Gelsenkirchen Theater Commission, read by Werner Ruhnau, November 1958

Ladies and Gentlemen,As I prepare to realize the commission that I am so honored to have received from you for the lobby of the new theater of Gelsenkirchen, I wish to express to you some of my ideas and conceptions about painting, in order to explain to you, who have entrusted my art with your confidence, some of the reasons why I believe that the entire group of works that I am setting out to create should be in blue, uniformly in blue everywhere, and not consist of lateral panels in blue...
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Editorial, 2013, Christelle Lecœur

"The Pneumatic Rocket, a rocket to space project", by Christelle Lecoeur

"At the turn of the 1950s, Yves Klein’s interest turned to speed, as was the case with many other artists, including Georges Mathieu. In 1958, at the height of the Russo-American space race, when the first Sputnik and Explorer satellites were launched, Klein, in whose work space played a central role, conceived a rocket “which accelerates by progressive pulsations, ad infinitum.” Made to travel through space, it would convey no information, carry no travellers and have no destination. Its...
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Editorial, 1958, Yves Klein

Yves Klein, "My Position in the Battle Between Line and Color", article from the ZERO group magazine

Paris, 16 April 1958 For my part, the art of painting consists in liberating the first state of matter. Ordinary painting, painting as it is commonly understood, is a prison window, whose lines, contours, forms, and composition are all determined by bars. For me the lines concretize our mortality, our emotional life, our reason, and even our spirituality. They are our psychological boundaries, our historic past, our skeletal framework; they are our weaknesses and our desires, our faculties, and...
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