9
Tous droits réservés © Les Éditions Intervention, 1990 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ Document généré le 28 mai 2021 04:26 Inter Art actuel Map Oralités, Poyphonix 16 Numéro 50, 1990 URI : https://id.erudit.org/iderudit/59311ac Aller au sommaire du numéro Éditeur(s) Les Éditions Intervention ISSN 0825-8708 (imprimé) 1923-2764 (numérique) Découvrir la revue Citer ce document (1990). Map. Inter,(50), 50–57.

Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

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Page 1: Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

Tous droits réservés © Les Éditions Intervention, 1990 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation desservices d’Érudit (y compris la reproduction) est assujettie à sa politiqued’utilisation que vous pouvez consulter en ligne.https://apropos.erudit.org/fr/usagers/politique-dutilisation/

Cet article est diffusé et préservé par Érudit.Érudit est un consortium interuniversitaire sans but lucratif composé del’Université de Montréal, l’Université Laval et l’Université du Québec àMontréal. Il a pour mission la promotion et la valorisation de la recherche.https://www.erudit.org/fr/

Document généré le 28 mai 2021 04:26

InterArt actuel

Map

Oralités, Poyphonix 16Numéro 50, 1990

URI : https://id.erudit.org/iderudit/59311ac

Aller au sommaire du numéro

Éditeur(s)Les Éditions Intervention

ISSN0825-8708 (imprimé)1923-2764 (numérique)

Découvrir la revue

Citer ce document(1990). Map. Inter,(50), 50–57.

Page 2: Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

S6AS,

MAP IS

T»e TITLE «f THIS Pl6C€ . t

POfrTT Ki ow WHAT A A P I S * A I A P OP,

JVlO, 6UT I KNOW w f t T , T

W I L L O É A M A P C F S Ô ^ C -

WlUfr PÉftSoNALjSÉCAUSE, l o o k ! THESE A * 6 M? CWisf F l t f « * P K W T S OIVI&ItfGr

n a -mes e

is ètmr C£A/Softs»ftP

I JO*TPIP,*OT, t l k € MAT ' " • • * * * — - A f i A C l

T* S ^ V ^ T H A T I AM MAKlM&INIf MAP

lui fto€6EC. IT IS MY f l * S T VISIT, MAT MY

i AST, i HoPe-ftor You NEtfC* kMdW,

You totf? M O * , *

PROBASLY

STAftTfeî OOTWlTH A

STilfDTcCft LU*OC0 l *R 31$,

8uT A/OW I AM ustvt A r e a m PAIJJT MAR­

KER t$UfPosmY WITH A "Flâ/e fcltfT."

I

*

<ms \

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AMY [MM «MIL

Aff f iAt IHTM

itstAl

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I

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AND I KNOW,

STAJPUig IS A Soop &ÉA|*Ad

SftAN?).* lW€ IN — WELL, I

SÏAAU D TO SAVTMAT I Live (w & i f t * MANY. *UT I (•ftCFg* TO SA* THAT I twe

IN BCftUtf»" ï f lO MOW &CR!.J^

VERY W/EU/fcUU

WHAT I ȣAtf. IT i S t f E * * ^ 'DlfffCUt'T s

TO EV- JI P^ALW

©ue-iK^i CAAj

I f I DiP

»?i feS

N o T t A A f , i Po You TUlftJK

l%0 • € U*lTlM6> THESE &ANAUTI?*

OKIUIS SO'CAIUO V f MAP? I HOPC MoT.ANP

T * MOT SOCe*TAl t f pTMATTI i fT f t lPWI lC 6E

' i l l ' «atSiiii

WAT i T TAKES

A CONS»

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Page 3: Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

••*ï*~ <»*v--

wjafm*%T*iê

m «LUCÔEC, L A K C THAT

LOOKS So«C-THMfr t l K t THIS SHR^e. I f ÏOUKM*W

of ©«€, ftwse

rTO TH% IfclTAft Of l H T t f t . W H 6

W l l l k U f M6 PoST€D. I VoH

EMMCTT I A M S

MITAUATMMJ

e»TY«f *nfC

NftTNfi IOACAT teowiui t N l t Al*

CMAAD «.ARTU, IT HAS

6 t t M SCCft* » f t l C f t ( A I »

. A l l A I . Hi,

JS

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« i m » uA A PftltfCM-

.MMOVAOC |*WSfA< A t f f t t t C

f l f t l S ONTO

f*0C

intiKi» men WITH

'ARUJTS.

Aiiowr CAlt tlT A ,

11

• : r a f g t ,

i VouiO CAi l l&IMAtY Ail CxMIOlTleH , «WT WoOMf ' M A * ! * t M t l f t l T l f t U t AMY * « A 6 , "Wet « A k Ç INtTA H A T I O N S . TM( ï , WAY H I T H E A C A f t t W© <*o*E ' * • CrAft f tAfr t l*»6li/— NoW TM(

igwAAe COI 1.40 SAnIlTATIOlJ %lht l* ^^ . f ixwutens. » n©ot i AM

M f«CMCM. - | | „ MAKlWfr M « I t F C16 A sspg

CMAWU.AW© | THtN YOU

WIGHT MoT.

'^•li.i'ii.i •v"-*ww*fc» •' •..'«se»*

•»wi " M'MSSHI

Page 4: Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

TM6 SUA IS

'SHIHlNOrOi TMf DIATY^I

AteoPsHow OOTSIPE MY

WlNpoW- I ? • *? ATE TWo*AAPcE

CEAF" ACC-%EEF rW lENEAS.C^ST

* IRE # Uuy SAUCISSE FMME6 AU 6OE0F.

I'VE HAP BETTER ONES, CAM You

IMAGINE, THEY HAVE W M&Wf To PRINT Oi) THE PACKAGE UATUAAL

SMQKE^ FLAVOUR APPEO !

.- -.- '

l AaN»1

AUSSI», OAtUftS€&«j

WlIK PALI 5 VSCFvt Al9t*f*ftl*t#1 ttt-UAftlllCAt

Mf lAOf tV . l f I

HAP IT» THIS

MAP MIGHT NAVe

OCCOAIC A FAT

A T l A S . * » * * * 1

pi s s ess we frtfT Of roTAl RECAiij EsPectAttY, AT MY AOC, WMEfi THEAf IS SOAtUCN TO ^EMEA&EA,AM>

NNENSENItlTY 15 sofposep T O a t SIT­

TING tfj. mm

mtmmb

'«wiwwaB 1 i»o

( w e t* ALDec A oc s A s o , AT A * EXHIBITION itf COUPON» I WAS

* WscAisep AS "THE Poet WlW *1HE EcEPHANT MEMO AY." I Po*SiT WHY. ONE CANT &E TOO CAAeFUt

^AOOilT THIS COMPUCSI01J TO Pis» INTO THE PAST. 6EWAAE THE ftESOCTS «A

TAMPEftiNfr WITH WE AftTlFACTS • All AMSAICAW COCCEAfrUE , WHO WAS ACTIVE ON THE MAP-

W'X PElllWfr SCENE III NEv^YoUc EAACY EtfOUS44 P * ^ É % G I f l i s own/

_n Bîïrtëf

Page 5: Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

f i / fa r * *?*

• " !

•MHS ^ • • • M l U l M U f P ; W A Y eyes, AT U AST, HIS ACCLAIM

To fAMf AllDfrtoAY BY RfcveAuNfr#seveAAcpfcApe*

Af lEft THE FACT, 1HAT NE NAP PM<$É!J **CY IriVENTE» HAPf*NINS* WH*V

e WAS sevew YCAAS o t3 * WMuf NTepTAlNltffr HIS FAMICY

iu> IHENElSHQiRS IM Wf ^ Mfe *&AAN , THE STA Et f S* W f

feftfrtT wmeH

ft » %

-,;V*!.BFI

l l f e É ANOMEft COUCHO* •fer*?i IfeOf WE OeEA*/ ,SAWft t*«D«"H**f ré^ *

H l f l lEVf AKUSEN. ° * * ° * e A * * • * /WAN CI TV , AT

TWO OA THAI I « ©A..

i 7 l _ WIS»

AlAYSf • — fouft, AN» INVENTED * " %

HAffCMlMOS oN TWE SAoT TMW AM TOMe. AN» THE*/ F

U i - _ THM6 I1THC SA» CAfC AISTOAV©A THE Co t fc tPTUAu

l $ T • * * • WOKE uAoNE (AOftNMJfr...

p'- 'v.

•Kaa..u

<SB

. . . AND P e A l H t P THAT

HE HA» INVENTED TUS T AftooT EVERYTHING- f lAST f g u r

r WHO UNFORTUNATELY HAD TO tD MIS IDEAS To • ^ • o T H L A ARTISTS

|NNEWYoftH>WNO PAowATlV EXECUTED THE WORKS AND # SlfrNtD THCN AS THEIR ©W#>. (AND VulHV AM I TEtllNO-

You A i t THIS f )

" M ' y ' • • ' > . : • •

Page 6: Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

% <mWm^mW

f SEE TAowdLt AHEAP.YES.f HAVE

ÉWoufrH £ X P £ * | 6 N C 6 \ t i TYpOG-RAPrtY TO REAL­M S THAT f MUST SPC IDE fAlM(=D|ATELY WHICH SlPE

OF THIS STRAWG-E SAACE I

AMO NOW I MOST USE UP THIS SPACE. D© You SMOKE ? I HOPS NoT. L'USAfrE DUTA0A€ R * '

m»«lT l'CtAER* ANCE DE VIE UNf©RTtfA»ATfL

I DO SMOKE,AND SMOKE A t o T . I

HAVE GIVEN ©UT o f CIGARETTES,eur

IT lS .BSNOW.Nf r OoTS»DE,ANî> I HAVE NEl

AT "AIARE

'NlSAT-î ecfoAE B 4 j

WILL. END THIS S6A>TE^C€

fotf. WELL, HE Re we ARE,G>oiMfr DoW»/

Dow*/ , DOWN.

CAST we Aie owAu A r

A T H A I R E S T A U ­

R A N T . O A K Y \

YEAR AOO I

ATE AT A I THAI INS­TAURANT.

AIAMA CR& WAS THCM £ATINO oP

ToRff.SM DIED.

GRIEF.'THIS IS A MOR61D PART o f THE

H A * IS T H I S

eecAusEj'** RuNouT o r CIGARETTES ? To CHEER MYSEL

A û i T , 1 W I L L DRA SOME FUNNY t n

PEoRtE.^): LAST

NI&NT I WAS OAoWSINfr

THROMCrH MON A DESfrAtNf'$ OOOKS, AN) WENT TO SLEEP WITH RoMOkA'S *» -

OCrRAPHY OF HER HUSftAND VASLAV.oN PAGE H t , DlAfrHlLf FF VISiTS THE DERANGE© N W N S K Y ,

TELLS HIM HE MJilT DANCE A * A I * I . VASLAV SHARES His HE A&.~ JE NE PEUX PAS. -

CAR j e SUIS FOU." WHAT A L I N S » .,._4Jiij_aaijH§l

Page 7: Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

ANoTHEi ST*AI< UNE. lT MARINE WA*Y TO WRITE SOMA' THi NCr SOAT OF CROOKS O-6HT1MAT IS CASIER S A * « M D o * E .

If l COS AfIGElES*

* k u

I T wootp è T l ! S ^ P $ v

J * FOT AYCS A*P « * * * • * Tll iSePiNSSA;

.PAtNTS.Rv MËÈtà

a i m M i l

tseffftAt TNttfTNS

W"\V^R2>»*ÂN*

. I •

S© \a© l» W S U o . " f R

i

» » ;

WONOIR II ' AMVONE WU

f^îRi»*»

^ B S S 5 a

PON'T ^ W O A A Y , I WON%T P O I T . WHY

* Porr 2 Î ? ? Y f S o ^ o n , Aupie^cE f R A T K I -PATIoN IS

fo* I «

f R6AD WHAT I A M WRITING. R 1 A U Y , YOU

SHooftQ READ A»© LOOK A T

ÂNÔTlsTEN TO T»£jtfO£V°Ç. YovR CoN-TCMlbftlES.

AS E A A l tRoWt* ONCE

EOtfTIfe I pOWT. iT

ISTHf t ONtY Gt * / -CARTION o f

ARTISTS TUAT You CAW EVE* G-ET TO KNOW

FIRSTHAND.

MAMA CAS* HAP frONtOll

A PUT !

AElUCTAtfC] A full*SAN Alto*» IT

SECfTotfVItWtO Aies© AAP o n t o P * n MC »one Of TUt MYI

SCOAliS.Of MY FAVOAITE COOMTAlfaMAPAAl. NÉAft THE FooT oF THtfMOWfAiNf,7«Eft l : IS A /WOA/UME/s/T

HOtfORitffr TW£ AtfTHRoPoi.oG.isT FREDERICK StAKA, A^ AVID FUJI CLiMBEA^ vJH© PiED V O IN ff/itfETEEN -

I; p»|/(tY"SdfA6THlN&, BÉfott THF W A M ^ ^ W O ^ F A / T .

ARE PlESÊ WaR^S <ftFPft.$ÎA**: f U J I IWI H I T mi H J i ' i J Bflge AtW */Ak*P.

Itf A &UA*É <0F SUNSHINE 13 BfAUTlFOL f O J l WiTHiTS SOMNIT vtRAPPiP

U>UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

O l o T T I O ^ s OUT . .

H

«Y THE Fofr UNTl lOAlYA

HINT PACINI IS CEfT IS MoSTéfiAOTlfwl

Page 8: Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

i>» VERY iPROoD OF M Y -

rSELF.YouSSE, I [HAVE CEE*/AlRRiOfr R»RNfl SCULPTURES M ITAO; AECINTLY.

!T I HAVE KEPT -MIS M A P »

^^m9^mSiMmVÊÊmWS^mmmmmmmmmmmmmmlmm^m ' \

P * mu

RIGHT lARt THE 'LETTER G OF TH(ENGIISH AtFNA%ET. 6VERTTNIHG I

HAVE WRITTEN ON

/THIS SO-CALLED NAP EXCERT F«R DASHES AND DoTS AND COMMAS AND

THOSE LITTLE PEofLE — CAN 6E SAID TO 6E VAR­

IATIONS ON THE ALPHA­BET, i v e fcfERToiD -mi S

J i * A N Y T I M S . R t f T t t a T RELIEVE iT. 6ECAUSE 'iTHE LANGUAGE GRAlf

IS MUCH MORE i6eAOTlFULTHAJ^ kTHE A«Ci.

WoutD GE AAPRofRlATS SAY S0N6THIN6- A 6 o u T

FLUXUS. YES, I KNOW A LoT AftoUT IT. *UT IT

IS HISTORY. AND You CA*f Do YOUR HWUfWOIIK ATYOVR LOCAL

LIQRARY.ANYWAT, DURING MY RETRO*

SPEcTWE AT THE NATIONAL GAICRIE I ^

BERLIN IN I f f * , ! WAS ASKED TO ADDRESS A 6R0uP

OF ART HISTORIANS ©N THE SuftJfcT OFSFLUXVIS.OHE ©A

" HISTORIANS SA lD .^HW O ^ I ^ ^ O Y O U PRONOUNCE IT?

*

IS t T FLOOKSUS ©R

PLUCK su s >MWELL, H A API L Y « RECALLED GEoRfrc MACIONAS' PRONOUNCEMENT C t i THIS GRAVE MATTE* "

GEoftte SA ID : ••FLOYUS RHYMES WITH PUCK S US.

FIN DE *

Page 9: Inter Art actuel - Érudit...IWI HIT m Hi J i ' i J Bflge AtW */Ak*P. Itf A &UA*É UD AMP flMST /S fto_&& ^tBeA0TlFut;FO

ysû^ *j,5P*q^B"jfl£ss

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# * T ô D A Y l S TUESDAY. jpAflAACIf 10,1,110, AwP | AM STuc i l l «LOEftEc. TNURSPAV

I PCY TO HA Cl F A* > * * • * WHERE I WUC 5PEM1 SOME

T I M E W I T W M Y O L P P A L

frARRV kEfWf p Y A t f» HIS WIFE JAYWE.APRli 1

IftETMRflTo GERCii/, AH> APfttC 4TH I WHt HAVE A SURPRISE %%

6lATH*AY fl*T>' AT TH6 MIW6I

P U i erne ôuesEc | > ^OlNCrAACk

fîo Oeftllrf WITH1

COAT TNAT NAÎKAcie

CASTf

I COUtP * 0

ON AMP MAI JosT OrETTitffi» WAPMEP UP,

\ »

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QuT FRAHHLV I'M VCRT HUMAT.

141

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RESTAURAIT | WUC ÛE S I H T V -FIVE. HApfY

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• i M lit G© SOWTN To VERoNA, NUIRE I WltL WORK M Y SO PROfASAtS FOR THE STAINtT ErlASS WINDOWS FOR THE FL

CATMlDSAt 11 CAN GET I

DONE FARE THE

OIEW (Ait

| « AN» I'M OVT ©F CIGAR*

JETTES, AS I

KEAARRH CARUCA.

So m END Y M A A ^

OA IS iT YtoR MAP?—-AS

SooN • • AS POSSlRLE,AND G-o UP STEEA HILL , I N THE SNOW, * AND SATIS FY SAME OF N V

tWOlOGICAC «MWj i