Large Clumps Of Mucus In Nose

" A world without monsters is a lost world "

Dado (Miodrag Djuric) died on November 27 last, aged 77.

Galerie Alain Margaron (5, rue du Perche, 75003 Paris) tribute on the occasion of the exhibition Drawings (exhibition of drawings Cojan, Dado, Fred Deux, Clara Fierfort, Godeg, Groborne's computer animation, Laubiès, Lunven, Macréau, Music, Requichot ... ) of 2 December Jan 15, 2010 to 2011.

His drawings and oil paintings, but its graphics, collages, assemblages and sculptures are located in art galleries, important private collections of many museums including the MoMA and the foundation Guggenheim and the Museum National d'Art Moderne in Paris.

"[...] Amateur old planks of Anatomy, Dado draws its references from books at random libraries of his friends dermatologists or psychiatrists: The man with criminal Lombroso, we find illustrated textbooks forensic medicine, dermatology atlases. His bestiary is the result of chance encounters, but inevitable " empty me-that" booksellers: portraits anim written by Buffon in his Histoire Naturelle have married Grandville's illustrations for Scenes from privacy animals. Dado once felt drawn by the atmosphere novels of Céline, since he discovered Travel in the East, the Illuminati Gerard de Nerval. He ponders over the texts he reads them and always returns to the Book of Job which is his Divine Comedy. A few titles, it would add more prosaically small publications, pilfered his children, devoted to insects, French Revolution, which led to two series of recent drawings by Dado. [...] "

Christian Derouet, "The exasperation of the line," exhibition catalog Dado Cabinet of Graphic Art Centre Pompidou (19 Nov. 1981-18 Jan. 1982), p . 10.

"[...] Is it the fear that they would like to sow or plant, the monsters come together almost naturally to the representation of power among men. The Middle Ages believed that more demons paradise and Bosch also had better knowledge of the delights of demonic hell delights. Wild fetishes, ancient gods, except that the Greek world was raving elsewhere, are too often people who grimace and tear and are rare in the cosmologies and mythologies raw figures allayed. The fantasy of chaos reappears constantly and fantasy is chaos.

Dado Untitled, 1972-1981, Indian ink, 75 x 52.5.

Is this one title, a triptych of Pali-Kao, and the grotesque character he reminds me, what are these crucifixions pathetic phallus and vultures these growths exaggerated bulges and skulls, I link the representations of Dado happiness and fertility reaffirmed the chaos and disorder of nature. Virile power, power of the bloody cross on the world, animal power, power to the confusion of forms and mental night, so many different manifestations of power arise in any invocation of the hand that and nicely painted tower "ride", as expressed by the servants of the deities voodoo trance in particular one that awaits them at dawn, not knowing who will appear in the unique light of the day and if he can really determine the form and attributes, just knowing that someone will come because the vision is infinite and constantly renewing itself, and that human psychological tradition that the painter is the witness of this individual is already fantasy a reality ahead of the light that no mask can hide.

But monsters, aberrations called them in the place of perpetual metamorphosis. They have their zoology, anthropology their own, they have their tastes and colors of their choice of atmospheres, they like to reappear to impose their names.

Dado The butcher of St. Nicolas , 1981, collage of cut drawings, 182 x 207 (detail).

[...] The scavenging medieval liked monsters and chimeras, but it is, so far as history takes us, civilizations, thoughts that have known underworld. School for Monsters is a dream for the future. I will cite this example because the checks he makes to me is very recent, unexpected, surprising and even risky. I expect all of Egypt and the essence of the Incas, the most anthropomorphic visualizations of the world in the smallest objects, vases, pins, the basins of the fountains, the symbolism of the frescoes deployed on the infinite walls, closed in on themselves, like the tomb of the beholder. How much more surprising to find that in the delirium of reasoned Italian Renaissance in the decoration of the Palace of Te in Mantua, the work of Giulio Romano, mythology applied in the direction of the deeper meaning of all the upheaval, the frenzied eroticism gigantism and glacial enfilades get lost in a world falling apart, faces that are made and unmade without ever, deceptive look, that cheeks crush and grind themselves, revealing the meaning already destroyed. A world without monsters is a lost world, a world that would give up without return of ineffable charm to wander by itself, thus disrupting the bond linking him to other men, other countries, as night and day [...] "

"Dado: The residents of the Prairie", Henri-Alexis Baatsch, End of Century No. 3, January 1976.