SHOP

My flag doesn't have the same blue and red as right-wing and far-right posters: its blue is bright, light cobalt, like Monet's or Manet's Bastille Day posters, joyful like the blue of the Liberation, which was fought precisely against the ancestors of today's Front National, who simply stole the acronym "Front National" from the largely Communist liberation organisation that included so many heroic foreigners! The red is bright, somewhere between pink, vermilion, carmine and orange, a red of courage, youth and joy. Above all, the transparency, which you would never see in a far-right poster, all opaque, hard, with something martial and vengeful about it, always seeking, through suspicion and gossip, to cast hate on the defenceless innocent. This transparency says it all about a project that is sovereign, peaceful, reconciliatory, generous, full of hope and above all courageous (in these times of media cowardice). Behind the effect that changes the black of the letters into blue or red, we can see the idea that light shines through the thought of a real political project, a light that speaks of peace, "luxury, calm and pleasure", without which any project plunges irreversibly into the seizure of power by a clan closed in on itself and its habits of thinking among itself. Can today's artists make themselves useful, or are they condemned to the speculative race to make the most of the ill-gotten fortunes of thieves and their tax lawyers? That's one of the questions raised by this flag. For some who claim to be in their place to "defend the people", it must finally be understood that ugliness and the absolute absence of eloquence and spirituality are not - at least for humanity - a persuasive prospect, and that it is not a question of submitting to seduction but of cultivating the ability to integrate into a political project the faculty of accepting life that cannot be controlled or decreed, and of which art is the first, fiercely attached to its freedom of expression.

Edition Piacé le radieux 2010 5000 copies

Under the name Peopleday®, François Curlet creates works using multiples and one-offs by artists from previous generations. In 2006, to coincide with the FIAC, he co-ordinated the publication of a journal entitled "Howard", in which people from the art world - critics, artists and others - were invited to write in a no-holds-barred way about the inner workings of the art world. Four years later, to coincide with the Quinzaine Radieuse #2, the Piacé le radieux association published the second Howard journal. The layout was still designed by the Belgian collective Donuts, and the articles (by Raphaëlle Saint-Pierre, Jean-Marie Bézard, Jean-Louis Poitevin, Judith Benhamoun etc.) and drawings were free in tone, focusing on Le Corbusier, Piacé le radieux, rural life and art in general.

Terracotta 16x7x5 cm approx. each

10 copies of three models
Primitive cooking
Published as part of La Quinzaine radieuse #5, 2013

Ceramics and honey from Piacé

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