Liselott Johnsson’s Mayday at Moving Art

Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno

Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno

Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno

Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno

Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno

Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno

Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno

Trulli
Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno
Trulli
Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno
Trulli
Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno
Trulli
Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno
Trulli
Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno
Trulli
Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno
Trulli
Mayday, mayday, mayday /Liselott Johsson/Moving Art Gallery ©Beatriz Moreno
MAYDAY, MAYDAY, MAYDAY, MAYDAY, a distress signal that may only be responded to with the help of art and poetry.
«I’ll say a few days about your latent births“wrote Rimbaud in “Vowels” to associate each of them with one of life’s dazzling insurances. The poet then set out both the premises of an unveiling and the development of a language.
In the same enigmatic perspective of a relationship between a sign and an “event”, Liselott Johnsson, in his installation “Mayday, Mayday, Mayday, Mayday”, takes up this interaction of colour and form and places it in the context of the history of abstract painting. Not that of the body and its impulses but that of thought, of a reflection on the creation and validity of a linguistic code.
However, this work does not claim to be theoretical in any way, but rather aims to revive in the viewer the reflection on this relationship between colour and a geometric system. Thus the artist creates a vocabulary where each letter is associated with a square inhabited by a coloured sign that, culturally, refers to well-defined systems – signalling in transport, for example in the International Maritime Signals Code, but also in other fields such as the High Capacity Color Barcode developed by Microsoft.
If Liselott Johnsson’s work encourages us to think about these visual systems that act on us without even having to analyze them, it highlights their decorative and architectural aspects. Colour and sign carry within them the construction of meaning and incite the viewer to an individual and social reaction.
In the elaboration of an arbitrary plastic language and a visual code to designate a word, the artist enlightens us on the fundamental ambiguity of what we take for granted naturally when everything proceeds only from a cultural construction.
The artist refers us to the first signs, to the primitive languages and to those we know, but without understanding and interpreting them.
How then to perceive reality, how to obey its injunctions or how to transform it? What is the artist’s power over him and what are the limits of creation?
Here is a thoughtful work that is delivered in all clarity, in the requirement of an openness to poetry by the sole serenity of form and colour.
Rimbaud’s luminous shadow, the power of his synesthesia reign here. We immerse ourselves with delight in this unknown language.
Until June 29th, by appointment
Mayday Mayday Mayday Mayday, Liselott Johnsson
24 Rue Paul Déroulède, 06000 Nice

Michel Gathier

With a literary background, Michel Gathier developed a passion for art very early, particularly during long stays abroad. He has contributed to the magazine “L’art vivant” and now...

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