Laughter and the Arts in Paris

A Real hearty laughter, light and liberating, not one of those laughs "comedy" masonry trowel, who have the gift of spinning the drone? Here is your man. "Specimen male, 1.87 m, Belgian" , defines it himself - with the accent. Suffice to say a beanpole with a funny face of nothing, with a little one-hour show becoming "cult", as they say, walking on his lanky pulls no Raymond Devos, the great American burlesque and a family of clowns metaphysical.

With what does he laugh, that Jos Houben? With laughter. By deconstructing its mechanisms, watchmaker, an engineer. The snake biting its tail, and Art of Laughter is the size of an epic recounting the battle always renewed man to stand and remain worthy of its status' of Homo sapiens . It's amazing what he says about the human, this show which was played in a somewhat confidential Bouffes du Nord, Paris, in 2008 and 2009, prior to its full dimension in the Theatre du Rond Point, where he was scheduled in 2011 and resumed today until mid-June.

"Specimen male, 1.87 m, Belgian." Everything starts from there. Every great burlesque is primarily a body in its relation to space and fall. Jos Houben knows that, after conducting some vague philosophical studies at Louvain, was found at the Lecoq School in Paris, where he now teaches.

If that doesn’t satisfy your fancy then you might consider the Wake the Dead in Venice exhibition. In 1969 took place at the Kunsthalle Bern exhibition whose title was "Live in your Head:. When Attitudes Become Form Works-Concepts-Processes-Situations-Information". Curated by Harald Szeemann. She remained in history, as a short title: "When Attitudes Become Form".

The reason for his fame is to be found in the list of participants: minimalist Robert Morris, Carl Andre, Sol LeWitt and Richard Serra; conceptual Robert Barry, Mel Bochner, Joseph Kossuth and Lawrence Wiener, the land-artists Walter De Maria Richard Long and Robert Smithson, members of the Italian arte povera - Giovanni Anselmo, Alighiero Boetti, Mario Merz, Jannis Kounellis, and artists who do not belong to any group, Joseph Beuys and Hans Haacke Eva Hesse Bruce Nauman through Claes Oldenburg, Pino Pascali and Sarkis.

At that time, it takes a remarkable insight to perceive that these emerging artists with works that do not know and do not feel that the collusion Szeemann wanted to make visible, must be met. Europe and the United States jumble, sixty elected have their place, putting their work out of the floorboards, cutting geometries in plaster walls and taking possession of the surroundings.

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