The title of this event, La tentation du hasard<\/i>, and more specifically its subtitle, \u201cToute pens\u00e9e \u00e9met un coup de d\u00e9s<\/i>\u201d, St\u00e9phane Mallarm\u00e9, 1897<\/i>, seemed to be made to measure for Guido Molinari. The Foundation therefore readily accepted the invitation of the Executive and Artistic Director of the Biennale, Claude Gosselin, to take part. The large room on the ground floor, open to the public for the first time, presented two significant groups of works from the beginning and the end of the artist\u2019s career. Here follows an extract from the official brochure of the Biennale:<\/p>\n\n\n\n
Molinari and Chance (in Two Phases)<\/strong><\/p>\n\n\n\n In the Spring of 2003, Molinari, hosted by Ren\u00e9 Blouin, had presented his reinterpretation of a work that had always haunted him: the book-poem Un coup de d\u00e9s jamais n\u2019abolira le hasard<\/i>, akin to Mallarm\u00e9\u2019s last will and testament, and a founding score of the modern age. For Molinari also, this chromatic frieze, a book projected in space \u2013 a dream the poet had always had \u2013 would stand as a last will and testament: both creators were to die a few months after the completion of their respective works. Today, this last polyptic remains a roadmap for Mallarm\u00e9\u2019s poem and vice versa, drawing the visitor to look at the pervasive music that emanates from each of them.<\/p>\n\n\n\n In the 1950s, a youthful Molinari was struggling with a certain degree of mistrust towards the automatist painters, whom he found to be excessively rational in the execution of their works. He had decided to paint, in complete darkness, canvases that would become unpredictable and arbitrary objects, and thus true automatist works. Bernard Tesseydre, with his usual wisdom, would later write: \u201cGiven that censorship requires that the work be seen while it is in progress, one must paint without seeing and then accept, without any possibility of retouching, the emergence of the unpredictable.”<\/p>\n\n\n\n – Gilles Daigneault<\/p>\n","protected":false},"excerpt":{"rendered":" The title of this event, La tentation du hasard, and more specifically its subtitle, \u201cToute pens\u00e9e \u00e9met un coup de d\u00e9s\u201d, St\u00e9phane Mallarm\u00e9, 1897, seemed to be made to measure for Guido Molinari. The Foundation therefore readily accepted the invitation of the Executive and Artistic Director of the Biennale, Claude Gosselin, to take part. The … <\/p>\n