By Christoph Lindner
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Additional info for Paris-Amsterdam underground : essays on cultural resistance, subversion, and diversion
With the metro series Dubuffet finds an entrance into more experimental work, stocking up ideas experimented in linear drawing that will later be translated into painting. 6. Jean Dubuffet. Plate 8 of Jean Paulhan’s La Métromanie ou les dessous de la capitale. Lithograph on paper, transferred to stone (1949). metromania or the undersides of painting 31 Hubert Damisch, playing with words in an essay from 1985, called his entrance into another form of underground, far more organic and topographic.
The sexual revolution was a kind of Gesamtkunstwerk (unitary work of art) and resembled the ‘unitary urbanism’ of the Situationists (Pinder 128-30). It embraced all sexual orientations and included media, arts, literature, pop music and ways of dancing, social movements, novel types of spirituality, experiments with body, gender, and sexuality, communal and squatted housing projects, drugs, and a critique of traditional politics and religion. Dutch culture dramatically changed in a short period.
Dubuffet shared this interest in Art Brut with a group of writers that included Paulhan alongside André Breton and Henri-Pierre Roché, and he federated this enthusiasm by creating in 1947 the Foyer de l’Art Brut in order to collect funds and administer the growing collection he was compiling. Paulhan was one of his early companions in this. The pair traveled across Switzerland in 1945 during an early research trip that the writer recounted in a short book, Guide d’un petit voyage en Suisse. While the term ‘Art Brut’ does in no way apply to Dubuffet’s own production as is sometimes wrongly assumed, Art Brut did constitute for him the ideal model of an art driven – as Damisch has put it – by ‘inner necessity’.
Paris-Amsterdam underground : essays on cultural resistance, subversion, and diversion by Christoph Lindner