evolution de l'art - logo

A contribution for emerging artists

A conversation about art that will last as long as possible

A do-it-yourself method to make an instant distinction of good and bad

A guided tour to an abandoned shopping mall

A picture of you

A quotation from The Anti-Oedipus

A slogan

A visit to the artist in Oregon

An open call to the chicken-breeders of the planet

Answer the telephone and tell stories about Italian masterpieces, or about immateriality

Birthday party

Choosing a new day to celebrate Christmas

Collecting information about a list of unknown people, sent by the buyer

Compilations of visited URLS as archived from the web browser’s “history” feature

Entering into a private apartment and not telling anyone what is inside

Experiencing the screen test process and re-enacting a scene from your favourite film

For only 0,55 Euro you are part of a collection!

Forwarding to the artist all the emails received from Africa

Giving another artist the possibility to participate at a show, at my place

Giving you a thought for as long as you live

Good thoughts that will make you happy

How to apologize for failing to meet deadline

I dreamed...

Instructions to undertake a new career

Instructions for making a sentence impossible to be read entirely

Kissing two plastic bag men


Living space projection for new feelings

At Antwerp, barely two months ago. Invited to exhibit with a group of artists comprising Bury, Tinguely, Roth, Breer, Mack, Munari, Spoerri, Piene, and Soto, I travelled to Antwerp and, on the occasion of the opening, instead of installing a painting or whatever tangible and visible object in the space that had been reserved for me in the Hessenhuis exhibition hall, I loudly pronounced to the public these words borrowed from Gaston Bachelard: “First there is nothing, then there is a deep nothing, then there is a blue depth”.

The Belgian organiser of this exhibition then asked me where my work might be. I replied: “There, there where I am speaking at this moment.” “And what is the price of this work?” “A kilo of gold, a kilo ingot of pure gold will suffice me”. Why these fanciful conditions instead of a normal price simply represented by a sum of money? Because, for pictorial sensibility in raw material state, in a space that I had specialized and stabilized by pronouncing these few words upon my arrival, which made the blood of this spatial sensibility flow, one cannot ask for money. “The blood of sensibility is blue,” says Shelley and that is exactly what I think. The price of blue blood cannot in any instance be measured in money. It must be measured in gold.

…the pictorial space that I have already managed to stabilize before and around my monochrome paintings of earlier years will now be well established in the gallery space. My active presence in the given space will create the climate and the radiant pictorial ambiance that usually reigns in the studio of any artist gifted with real power. A sensible density that is abstract yet real will exist and will live by and for itself in places that are empty in appearance only.


(Excerpts from Yves Klein’s conference “L’évolution de l’art vers l’immatériel”, Paris, La Sorbonne, June 3, 1959, as published in: Yves Klein, Vers l’immatériel, Editions Dilecta, Paris 2006, pagg. 118 and 126. Translation Charles Penwarden)


















Participating artists and complete list of proposals

Making a radical change in life

Meeting a friend after 10 years

Making the artists obey their horoscopes

More an awareness then a thing

Not talking for 24 hours, starting from a moment chosen by the collector

Participation in artistic projects, either past or future

Phone conversations based on email scripts

Promoting a young unknown artist

Pronouncing the names of every people I know, as much as I can

Proving that a wish has been fulfilled

Questions and answers about status and motivations of artists from 4 different countries

Receiving the artists who want to show their works in a well-known gallery

Renouncing to think about a personal project when invited to a show

Repositioning furniture

Telephone numbers of story-tellers from Curaçao

Ten assignments

Temporal rearrangements of space, furniture and any other object provided by collector

The fact that for six months the artist slept under a table

The thought of a specific moment

The tracks of the artist’s tears

To be hosted by people met by chance, for nine months

To tell the most beautiful and worst experience of his/her life

Traversal: New York-Rome

Visiting the black light environment

Voice and sound of US

Your favorite fairy tale