Actuality 1

For nearly five years, in view of the complete hostility shown by the art official quarters to the notion of a new movement in painting, we have been existing in the wings of painting history.
Such « salons » as that of the « Beaux-Arts » at the « Carrousel du Louvre » ( the latest in which we took part, in 2007) do not seem to us really adapted to the visibility of a movement. That’s why, while awaiting more adapted proposals, the CONJONCTION movement is pursuing its existence and presentation on Internet.

1 Conceptual Elaboration

The elaboration of the CONJONCTION concepts is the conclusion of 35 years of research and reflections on Painting which began, for Georges Koutsandréou, after he left in 1976, the « Ecole Nationale supérieure des Beaux-Arts » in Paris.


It is therefore quite understandable that the assertions of CONJONCTION might not
be approved of at once by those who discover them.

The CONJONCTION movement blog recapitulates its history, step by step, but let us say here that by first creating the « supra-naïve figuration » we meant to go further with the works of such painters as Barnett Newman, Ellworth Kelly, and Kenneth Noland, by applying them to figuration.

For a long time the notion of passage which is the key to the understanding of Newman’s painting ( whose zip declares space without dividing it ) has been occulted. It may be a coincidence but since we somewhat expressed ourselves in 2005, till the end of 2006, on the « art press » forums of the « Palais de Tokyo » and « Tate Britain », we have noted that the conceptual contribution of these minimalist painters  is a little better restored  in its essentials.

Of course, nobody will ever admit that two unknown artists may have brought up a lesson in painting that the Institutions had ignored, so much so that the very name of « minimalist painters » which was used in their lifetime to call their operating process, was forgotten.

To come back to the concepts of the movement one could sum them up
as follows :

1 The first assertions of the supra-naive figuration in 2005 were about the passage of the human-like figure over the rectangular format bringing in the third dimension without the help of perspective : three dimensions, therefore, expressed in two D.

2 The second stage, giving birth to the CONJONCTION movement in October 2007, asserts the perpendicular conjunction of the passage of the human-like figure over the  rectangular format, associated with its other passage through the format, by means of
The tunnel effect target (which is a representation of the target in two dimensions).

Thus, our painting can only be understood with respect to its spatial dimension.
The demonstration of this movement is on the blog assigned to our Movement and we will stay ready to answer any questions put to us.


Georges Koutsandréou  :2009 duc