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Josefine Wikström is a student at the Centre for Research in Modern European Philosophy in London, UK, and has worked as a visiting lecturer at Goldsmiths, London, UK, and Konstfack, Stockholm, Sweden.JOURNAL OF CONTEMPORARY ART jacques villeglé Bernard Goy: Can you describe the nature of your intervention in the billboard poster? On the contrary, in our work there is a reminiscence of what happened eighty years ago. Isidore Isou was a little annoyed when I told him that we were the heirs to artists from the beginning of the century, but I believe it's true.I subsequently began to use wire — it was like drawing in space, but I did not have a sculptor's temperament. I understood that there was work to be done in that area. The stained glass windows in medieval churches were created under a theological program, but people who knew nothing of theology must have found some sense in them. The feeling of passed time is very strong in his work and the tear is also that — the passing of time.In 1989 I saw in New York a photograph by Walker Evans that showed a torn poster from 1930 with a caption that said roughly, "It is necessary to photograph the world the way people see it." This is very close to my concern. These artists were also artisans who lived outside the centers of power.Her films and sculptures explicitly reference psychoanalysis: (2014), for instance, made in collaboration with Jeannine Han, is set in a 1980s pastel-coloured, therapy-room interior, containing a light grey couch, where the patient may or may not be the blank-faced young woman who walks in and out of shot.Likewise, her sculpture (2013) features a white couch with a pair of trousers and a T-shirt lying on top of it, suggesting the presence of a patient.But Henderson’s work also draws on what Brecht called ‘mechanical processes not under the artist’s control’.The artist’s embrace of cinematic sound and her non-linear approach to sequencing gives her films a distinctly dream-like quality.

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We are similarly taken through a stream of images and sounds in (2013), a collaboration between Henderson and the artist Tiziana La Melia.But there was no information available in those years, particularly in a small town in Brittany. The whole world makes work for me — I only have to collect it. Goy: How can such a work speak to a for-eigner who doesn't understand French? Goy: What do you think of the plastic aspect of the lettriste movement? Does this mean that in your present work you will not return to the themes in the five published volumes? I did the first volume entitled Affiches de peintre after having found some posters of an eighteenth-century trompe l'œil painter.From the start I searched for a vocabulary by cutting out images from catalogues or by using pieces of fabric. Goy: In a recent book on your work Bernard Lamarche-Vadel quotes Dubuffet saying, "I like painting to be at the limit of no longer being a painting." It seems to me that in your case it should say, ". Villeglé: A work of art must operate on several levels. I found a correspondence with my work in these representations."6.54 My propositions serve as elucidations in the following way: anyone who understands me eventually recognizes them as nonsensical, when he has used them – as steps – to climb up beyond them.In his 1966 essay ‘Chance Imagery’, Fluxus artist George Brecht discusses the importance of chance to the history of Modern art, beginning with Dadaist and Surrealist attempts to access the unconscious through collage and automatic writing techniques. The avant-garde is a great upheaval, a great NO directed at the eighteenth and nineteenth centuries. ] Villeglé: To my generation, which I became aware of in the sixties.

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