Henri Chopin
Lutte Poétique
Henri Chopin (1922-2008) was a visionary artist, who in his prolific lifespan exhibited, recorded, and circulated widely. A participant in documenta 8, publisher, (OU Review 1964-74) concrete poet, and performer of sound poetry, Chopin was in the vanguard of the literary and artistic milieu of his day. Furthermore, Chopin’s visceral art wasn’t confined to the printed or collaged image and improvisatory performance; in the 1990’s he produced totemic sculptures that incorporated remnants of cut reel-to-reel tapes he used to record and modulate his performances. Set on wooden bases with vertical stems, they’re proxies of the human body and markers of a late stage of his career. Out of the ashes of Dada and Kurt Schwitters’ “Primordial Sonata,” the sound and visual poetry, of which Chopin is a seminal figure, originated in 1950’s Paris and then spread throughout Europe. Its sole aim was to expand the factors of language while transcending writing itself. Chopin himself commented that man’s primal language surpasses all known alphabets, pictograms, and idiographics. Thus in postwar Europe a new language had to be born, not of words, but a language of poetry that foregrounded phonic elements that are usually ignored in daily speech. Its evolution consisted of articulated sounds of words and letters, the noise of breathing, the timbre of a spoken word and the vibrato of the throat.
Chopin the sound artist is a cyclone of force at once unleashed and regulated; the sound is a most peculiar, yet singular utterance radiating from the caverns of his body. These ranging modulated sounds linger in the open air; a lilting wail at one moment, a steamy torrent of combustion at other intervals. Staccato rhythms carry momentum, then, sudden breaks in the recordings flow into transitions with spatial dynamics. A ping here, a low grating hum there, then the briefest of breathing pauses as a silent note before accelerating, then decelerating, and at last fading into the void. In these meaningful sounds and vocal gesticulations you may perceive the shapes and forms of the unseen senses of man. Chopin uses his body as an instrument like a fine-tuned cello or mellifluous violin. All of the stimuli of external and internal sense receptors audibly intimate variation, tone, and color. Temperature, pressure, touch, pain, vision, hearing, taste, and smell are abstractly implied in these etudes of the senses. From the minimalistic to the near symphonic his sound art is structured and contains harmonic equilibrium. At moments they are ephemeral light impressions of a distant time and place, while at other times the recordings’ duration brought Chopin to the limits of his own physical strength. Often compared with Antonin Artaud, he was the volcano and the earthquake that struck his blows in the dark of a dim-lit black box stage. Such powerful audio poems remain benchmarks of the genre.
Underscoring and amplifying Chopin’s achievements with sound art, the visual poems, books, photo documentations of live performances, paintings, and sculptural assemblages form the heart and soul of the exhibition; with their graphic immediacy they show an artist in control of his milieu. The enigmatic notations of the typewritten forms have a formal vocabulary and beauty. Chains of letters link and splinter, the concretized form dominates the page, each letter being a rational miniature structure. The dynamism of these concrete poems was replicated into prints, folios, multiples, posters and exhibition catalogs. They emphasize Chopin’s visual links with Dada, Futurism, and Fluxus, while also declaring his own sensibilities. He had an engaging way of spacing the blocks of letters into architectonic geometries with Palladian symmetry. You can imagine him with the morning coffee and a burning cigarette in hand. Already at work on the typewriting table he churns out a series of works stained and collaged with coffee-press filters and tobacco refuse. Chopin as poète maudit was a survivor of WWII internment camps, prison, and a death march. And, just as his Dadaist predecessors, he came of age during the tumult of war, suffered directly from its cruelty, then came away from it committed to an alternate course through his art. He was one of those autonomous saints of the poet stream that goes on unabated. Apollinaire, Raoul Hausmann, François Dufrêne, E.E. Cummings, William Burroughs, Brion Gysin, Dom Sylvester Houédard, Dieter Roth, and many others can be counted among his brethren. Force unregulated or ill regulated is not only wasted in the void, like that of carbon burned in the open air and steam unconfined by its industrial apparatus. Chopin had the innate ability to regulate this inner force and latent power to summon the velocity of his instrument, the corporeal body. Therein lies the memory of its aches and pains, the knowledge of unspoken horrors, subdued rage, and then a primeval jump beyond the material to elevate it to a transcendental state. Such force was thus corralled into a splendid anima that reached far into the cosmos and landed back on terra firma towards the human sublime.
Biography
born 1922 in Paris/FR
died 2008 in Dereham/UK
Selected Solo Exhibitions
2019
Lutte Poétique, Georg Kargl Fine Arts, Vienna
2017
Graphpoemachines, at Supportico Lopez, Berlin
Henri Chopin: From Concrete to Liquid to Spoken Worlds to the Word (retrospective), Centre
d'Art Contemporain, Geneva
2014
Henri Chopin – Dans L’Essex, Firstsite, Colchester
2013
Gratte Ciel Hors Commerce, New Jerseyy, Basel
L’Énergie Du Sommeil, 1M3, Lausanne
La Crevette Amoureuse, Supportico Lopez, Berlin
2012
Revue OU – Cinquième Saison: An Anthology of Sound Poetry, Argos, Brussels
OU OU OU: Henri Chopin and Revue OU, Summerhall, Edinburgh
2011
Henri Chopin and the OU Magazine, Fundação de Serralves Porto
Neonlicht#1 – Henri Chopin in het archief Paul De Vree, M HKA, Antwerp
2010
In Neapel, Supportico Lopez Gallery, Berlin
HENRI CHOPIN, Supportico Lopez Gallery, Berlin
2008
Henri Chopin, Three Minutes, Cubitt Gallery, London
2005
LES FILTRES DE L’ ALPHABET ET DE L’€, Fondazione Morra, Naples
1998
Henri Chopin, Sonic Memory, Norwich Gallery, Norwich
1993
Henri Chopin: Revue OU, Collection OU, Neues Museum Weserburg, Bremen
1991
Assessorato alIa Cultura, Rome
1989
Galerie Le Lieu, Québec
Galerie Krief, Paris
1988
Galerie Convergence, Nantes
1987
Galerie J & J Donguy, Paris
Galerie Brigitte Schehadé, Paris
1985
Galerie Hundertmark, Cologne
1984
Third Eye Centre, Glasgow
1983
Henri Chopin: Revue OU, Collection OU, Neues Museum Weserburg, Bremen
Centre Pompidou, Paris
Anzart in Hobart, Tasmania
1979
Poesia Sonora, Studio Santandrea, Milan
Palais Jacques Coeur, Bourges
Jordan Gallery, London
1975
Greenwich Theatre Gallery, London
Galeria Akumulatory, Poznan
1974
Henri Chopin: Ideas Gallery, Whitechapel Art Gallery, London
1972
Ceolfrith 18: Henri Chopin, Ceolfrith Arts Centre, Sunderland
1968
Fulham Gallery, London
1966
Galleria Alpha, Modena
1963
Galerie Riquelme, Paris
1962
Galerie Saint-Laurent, Brussels
Groupe Rijklin, Bruges
Selected Group Exhibitions
2020
Fuckers, Galerie der Stadt Schwaz, Schwaz
2018
A Matter of Printing, Supportico Lopez, Berlin
2017
New Pleasure, with Merlin Carpenter, Henri Chopin, George Condo, Dexter Dalwood, Latifa Echakhch, Hans-Peter Feldmann, Kim Gordon, Hilary Lloyd, Claudio Parmiggiani, Steven Parrino, Richard Prince, Matana Roberts, Alan Vega, Christopher Wool – Simon Lee Gallery, New York, NY
From the truer world of other: Typewriter Art from PAMM’s Collection, Pérez Art Museum Miami, FL
This is a Voice, Museum of Applied Arts & Science, Ultimo
Sites of Knowledge, Curated by Melissa Bianca Amore & William Stover, Jane Lombard Gallery, New York, NY
Integration Alone is not Enough: Selected Works of British Concrete Poetry 1960-1980, Richard Saltoun Gallery, London
2016
Poésie Balistique, with Marcel Broodthaers, Henri Chopin, Liz Deschenes, Thomas Hirschhorn, Scott Lyall, Dora Maurer, Helen Mirra, Dominique Petitgand, Christopher Williams, Channa Horwitz and others, La Verrière – Hermès Fondation Brussels
Concerning Concrete Poetry, Badischer Kunstverein, Karlsruhe
2015
Poem N°0000000000000000000000000000,9 with Julian Beck, Adriano Costa, Lenora de Barros, Natalie Häusler, James Hoff, Karl Holmqvist, Zin Taylor, curated by Supportico Lopez, Mendes Wood DM, São Paulo
La mot et la chose, Galerie Natalie Seroussi, Paris
Collecting Lines – Drawings from the Ringier Collection, Villa Flora, Winterthur
PÊCHE DE NUIT (oh well ah well yes well) / A project of Supportico Lopez, RaebervonStenglin, Zürich
OU: UR: SOURCE, La Plaque Tournante, Berlin
2014
Go and come back, with Julian Beck, Marco Bruzzone, Henri Chopin, J. Parker Valentine, Supportico Lopez at Paradise Garage, Los Angeles
Der Leone Have Sept Cabeças, Crac Alsace, Altkirch
… all silent but for the buzzing …, Royal College of Art Galleries, London
2013
Revue Ou, Poesie Sonore, Poesie Ouverte, Poesie Konkret 1964-1974, Oslo 10, Münchenstein
Homes & Gardens, Freedman Fitzpatrick, Los Angeles
Poetry & Performance, with Ida Applebroog and Gina Pane, Richard Saltoun, London
Anton Voyls Fortgang /A Void, with Guy De Cointet and Channa Horwitz, Kunstsaele Berlin, Berlin
Vocal Folds, Gertrude Contemporary, Melbourne
Die dritte Dimension, with Natalie Häusler, Giulio Delvé, Maria Adele Del Vecchio, Supportico Lopez at Frutta Gallery, Rome
Anton Voyls Fortgang /A Void, with Guy De Cointet and Channa Horwitz, Kunsthalle Düsseldorf, Düsseldorf
2012
It’s When It’s Gone That You Really Notice It, Simone Subal Gallery, New York
Face to Face, Deakin University, Melbourne
Ecstatic Alphabet/Heaps of Language, MOMA, New York
2010
Novel, Dépendance, Brussel
2009
Poor. Old. Tired. Horse., ICA, London
1967
Henri Chopin, Julien Blaine, Francois Dufrene and HW Muller, concert at Musée d’art Modern de Ville de Paris
Selected Press
2013
Astrid Mania, Henri Chopin, Supportico Lopez, Artforum, September, p. 425
Vincenzo Latronico, Henri Chopin’s “La Crevette Amoureuse”, Art Agenda, May
2012
Tim Griffin, Ecstatic Alphabets / Heaps of Language, Artforum, December, pp.238-241
2011
Why I am the author of sound poetry and free poetry, Nero, No. 27, Autumn, pp.59-66
2009
Limitless Voice(s), Intensive Bodies: Henri Chopin’s Poetics of Expansion, Mosaic, Vol. 42, No. 2
1983
Nicholas Zurbrugg, The Limitations of Letterisme: An Interview with Henri Chopin, Visible
Selected publications
2015
En Guises d’Autobiographie Forcément Incomplète, Lemon Melon & Richard Saltoun Gallery, London
2014
Henri Chopin, De la Démocratie / Of Democracy, Motto Books & Supportico Lopez, Berlin
2013
Anton Voyls Fortgang/A Void, Henri Chopin, Guy De Cointet and Channa Horwitz, Spector Books, pp. 27-29, Leipzig
2008
Ed. Giannantonio Morghen, Henri Chopin, Espace Frémissant, Associazione Renzo Cortina, Milan
2007
Le Cahier du Refuge 162, Centre International de Poésie, Marseille
2006
Graphpoemesmechine, Zero Gravità, Biella
2002
J’ose! – défier, Archivio F. Conz, Verona
2001
Panorama, Ottezec Editions, Geneva
1994
Hors-l’or (Appel à L’orage de L’oral), Cahiers de nuit, Caen
1993
Ed. Richard Meyer, - & +, Voix Editions, Montigny
1992
NAISSANCE REELLE (clartés de la poésie sonore), Berenice Editions, Rome
Les Hippocampes Noirs, Agius Editions, Geneva
Ed. Henri Chopin and Paul Zumthor, Les Riches Heures de l’Alphabet, Edition Traversière, Paris
Ed. Nicholas Zurbrugg and Marlene Hall, Henri Chopin, Queensland College of Art Gallery
1991
Alphabet pour Gratte-Ciel, Galerie Jordan Editions, Paris
L'esperluette et Ie Couillard (Légende), Atelier d'art LP Rougier Editions, Ivry-sur-Seine
Poème Froufroutant Électronique, Lô "Ie bibelot" Editions, Verson
1990
Squelette du Verbe et Alentour, B.G. Lafabrie Editions, Paris
Graphèmes en Vibrance, Petit Classique du Grand Pirate Editions, Chelles
Mil 1000 Mille Dates, Guy Schraenen Editions, Antwerp
Squelette du verbe et alentour, B.G. Lafabrie Editions, Paris
1987
Petit Livre des Riches Heures Signistes et Sonores, J & J Donguy Editions, Paris
Passementeries, Ottezec Editions, Nîmes
Henri Chopin, Galerie Brigitte Schéhadé, Paris
1986
Ray to the Rays, Francesco Conz, Verona
1985
La Conference de Yalta, Edizioni Morra, Naples
1984
Enluminures, Edizioni Morra, Naples
The Last Book of the Rich Alphabetical Hours of the Chopins, Third Eye Centre, Glasgow
1982
Concerto en Zhopin Mineur, Artista, Paris
16 Typewriter Poems, Edition Armin Hundertmark, Cologne
1980
Three Tubes, Coriander Studio, London
1979
Henri Chopin – Poésie Sonore Internationale, Jean-Michel Place Editions, Paris
1978
Portfolio Chopin, Editions Ottezec. With Cozette De Charmoy and William S. Burroughs, Geneva
1976
Henri Chopin, The Cosmographical Lobster: A Poetical Novel, Gaberbocchus Press, London
1975
À propos de OU, Revue OU/Cinquième Saison, E. Veys Editions, Tielt
Chronique 74, Revue OU/Cinquième Saison, Ingatestone
Portrait des 9 (Marche Commun), Guy Schraenen Editions, Antwerp
Signs/Signes, Ruby Editions, London
1974
Henri Chopin: Ideas Gallery. Graphics, Objects and Other Poems, Whitechapel Art Gallery, London
1972
Le Cimetière, Henry Fagne Editions, Brussels
Ceolfrith 18, Ceolfrith Press, Sunderland
1970
Le Dernier Roman du Monde, Cyanuur Editions, Brussels
Pêche de Nuit. Notes for 45rpm record in Le Dernier Roman du Monde, Editions Cyanuur, Wetteren
1969
Uncorrect poem for Henri Chopin, Openings Press, Woodchester
1967
Why I am the Author of Sound Poetry and Free Poetry, Festival de Fort Boyard, in: Revue OU 30/31, Musée d’art Moderne, Paris
1958
Ed. Tour de Feu, Chants de Nuit. Jarnac
L’arriviste, Caractères, Paris
1957
Présence, Revue Poésie Nouvelle, Paris
Regard Tota
Chants de Nuit, Tour de Feu , Jarnac
Signes, Caractères, Paris
Selected discography
1994
Staccati en glissando: pour une voix humaine (radiophonic music)
Henri Chopin, les 9 saintes-phonies: a retrospective
1979
Les Chuitantes Respirant
1973
You Vetigo Vertige
1972
Poésie Sonore, S Press
1971
Audiopoems, Tangent Records, UK
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