The specific nature of Bernar Venet's practice as an artist has often been studied from the point of view of his sculptures and paintings. In this book, however, we felt it was necessary to consider his actions and performances - a series that goes back as far as 1961 - in order to highlight the questions regarding the phenomenon of art that Venet raised in different projects, all captured at the time in photographs. Pushing pictorial processes to the critical point, deconstructing the notion of the artist/creator, critiquing the display space of artwork, devising sound environments - this range of activity forms a corpus of actions that is presented chronologically, along with numerous documents, many published here for the first time.
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If it is not surprising how many mediums Bernar Venet has worked in, from sculpture to painting to photography to sound to furniture, it is surprising how many he has used in performance. From the first moments of "Performance dans les detritus" in 1961 through sound compositions corresponding to and implicating his visual work, to a ballet for which he wrote the music, created the choreography and designed both the set and costumes, Venet has been omnivorous, recording mathematical poems on vinyl, the engines of the Concorde on CD and finally the sounds of the creation of his own sculpture. In 2004, Venet had three simultaneous solo shows in New York City, two at the Robert Miller and Jim Kempner galleries and a third along the Park Avenue Mall, where his large-scale Indeterminate Line pieces were installed. In 2005 he was named Chevalier de la Legion d'Honneur, France's highest decoration.
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