Within the history of art, the history of collage holds an important place since the beginning of the twentieth century.\nIf Picasso and Braque were the pioneers of this art of many techniques, the past and the present of this art count\nmany artists such as John Heartfield, Kurt Schwitters, Hannah Hoch, Max Ernst, Miriam Shapiro, Linder Sterling,\nLorna Simpson and Wangechi Mutu. Cubist, Dadaist, Surrealist, collage has both a poetic and a political dimension.\nIt is a question of reconstructing, of making an image, a photograph, a drawing, a painting or a sculpture from\ndisparate documents and materials. In this plastic and gestural dynamic, artists tend to create a new language that\nregisters against a specific history, ideology, set of norms or system. Collage is a place of infinite experimentation\ntowards an alternative and radical aesthetic. In 1920, Wieland Herzfelde (German publisher and brother of John\nHeartfield) wrote: \"The Dadaists say: artists used to spend endless time, love, and effort on painting a body, a flower,\na hat or a shadow and so on, but we only need pick up the scissors and cut out what we need from paintings or\nphotographs of these things; if the objects are small we don\u2019t even need the representations, but take the objects\nthemselves, e.g. penknives, ashtrays, books etc. \u2013 things which in the museums of old art are wonderfully painted, but\nonly painted.\u201d1 The technique comes from a desire for rupture; a plastic and political revolution. Collage is a\nstatement of modernity that seems not to fade across the generations. The work is characterised by both timeliness\nand timelessness. <\/p>\n\n\n\n

Collage involves gestures related to sculpture. From pre-existing material \u2013 archives of all types, printed images, text,\nobjects and raw materials \u2013 artists decontextualize, manipulate, collect and cut fragments of this material. These are\nassembled in multiple ways. Glued, stapled or sewn, the materials are joined by a grafting action that will generate\nimages or monstrous objects. The world of collage is a monster body and a political body. \"Order crushes desiring\nmachines that drive corporality. Power manages in an mediated but permanent way intimacy and the management of\nthe person.\u201d2 The resulting work of a collage thus implies a strangeness, an anomaly, a malformation, a difference\ncaused by a refusal of conformity, a will to make visible, to show, that which disturbs, deforms, disfigures and\ntransforms. Through it, modern and contemporary artists dissect and dismantle pre-existing materials to generate\nnew images, new bodies, new stories, new ecosystems.<\/p>\n\n\n\n

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