Anxious, as usual, to keep track of his actions, he invited, to immortalize the gesture, his two favourite photographers: John Kender and Harry Shunk. It is they who will realize in their Parisian laboratory this photomontage published for the first time in the frontpage of the newspaper created by Yves Klein "Sunday, the newspaper of a single day", on November 27, 1960. This time, the aim is to emphasize the concepts outlined during the Conférence at the Sorbonne for the general public.
Two years after the so-called exhibit "du vide" at the Galerie Iris Clert, Yves Klein did in fact take a leap, experimenting with the immaterial qualities of the void... As Claude Parent later confided, with whom the artist had the opportunity to collaborate on certain architectural projects, "it was a question of a thought from within which he expressed by acting it out. In the 1950s, I was bracing against anything irrational. However, I shared with Klein two irrational moments: the encounter with gold and blue and... the Saut".
The 1992 exhibit at the Galerie Montaigne dedicated to the immaterial work of Yves Klein featured photographs by Shunk and Kender, which represented a fundamental importance and conceptual milestone for photography within contemporary art. The same exhibit also drove Shunk to execute a limited edition of large prints for the first time only a year after his exhibit at the Kunsthalle in Basel, allowing the ephemeral and founding motions of the "Peintre de l'Espace" to take on all of their meaning.
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