ITINERARY 1939-2016

Photo: Laurent Brunet 

Photo: Laurent Brunet 

Born in Fontenay-sous-Bois on April 2nd to parents of Swiss origin. His father is a stomatolo­gist; his mother Lydie-Marie Nencki, fol­lowed painting classes in Fernand Leger's academy.

Boarder in a religious college. A scout in his free time, he is fascinated by the art of tying knots. He learns the top-man's rules and shows a pronounced interest in fossil-im­prints which he starts to collect. Holidays in Switzerland are useful for finding new speci­mens.
In Paris he visits the Paleontological Museum and takes a great interest in archeology.
In London he discovers antiquities in the Na­tional Gallery. He starts drawing by coping works exhibited in the museums.

Accepted in the Fine Arts School in Bourges, he follows painting classes (René Perrot) and sculpture classes (Marcel Gili).
He studies reproductive techniques (etching, xylography, typography, offset), is passionate about reproducing imprints on lithographic stones in Pierre Bichet's atelier.
He discovers informal art by regularly visiting exhibitions in galleries and museums in Paris.
He travels in Italy and visits Ancient Greece.

He writes an essay on the romanesque order in France's cathedrals. He meets Michel Larionov who explained to him the theory of “rayonism” in his painting.

Leaves Bourges and travels between Switzerland and the Cévennes. He collects, as well as fossils, all sorts of mineral and vegetable matter, whose structures, covered in pitch are used for making imprints.
He then undertakes imprints on metal and lithographic stones, experiments with he same proceedings on canvases, papers and different supports.
Reading made up of natural sciences and greek philosophy.

His works are shown for the first time in the Cabinet des Estampes in Geneva and in Berne, gallery Cachet.
His father dies suddenly. 

Jaccard settles in Paris, 39 quai d' Anjou. He becomes Larionov's assistant; he does some house painting and discovers American paint­ing in the Studio Facchetti. Meets Alberto Giacometti, Jean Dubuffet, Yves Klein, Iris Clert. He carries on with his lifting of im­prints and creates a group of paintings which have a neo-surrealist aspect. Exhibition at the Cercle SMA in Geneva.

Marries Daniele Louise Laget and is employed as an engraver on wood in an art print­ing shop. He then works as a chromes then as a typographer-printer. (The Divine Comedy illustrated by Salvador Dali; reprinting of Der Blaue Reiter by Kadinsky).

The materials and techniques of typographical printing enable him to enlarge his work on imprints in parallel with new pictoral experiments. Birth of his daughter Clarence. 
He travels in Italy in order to study fresco painting. 

He sets up a lithography studio in the rue du Canivet in Paris and at the same time creates polychrome imprints, on the ground. 

Undertakes, on canvases placed on the floor and without stretchers, the transfer of prints of vegetable or synthetic fibers with paint and then ink. 

Birth of his son Philippe.

He undertakes his first lithographic transfer of strings or frayed bits of rope and of industrial waste (bags of cement, straw, corrugated cardboard, fine underwear, film and plastic wrappings). 
Attends the popular lithography studio at the école supérieure des Beaux-Arts in Paris.

He makes crushed and chewed paper, rags dipped into or covered in printing inks in the shape of figures and imprinted on textile supports. 

Finishes La Figurologie. 
Gives up systematically stretching his canvases. He places fragments of fabrics on calico streamers (canvas, floor-cloths…) A series of imprints of hessian on cotton fabrics, of knots on heavy duty canvas. He uses fine textures, non-adhesive strips, embroideries, typographical string. Undertakes his first experiments in combustion (calcination, burn-beating). 
Brought face to face with the work carried our by the group Supports-Surfaces, he develops his work alongside the edge of this movement. He meets Claude Viallat.  

Continues the series of imprints of “wrapped ­up canvases". The canvas is placed as a screen on another tied-up canvas; the ink applied to the first shows up, by diffusion, the struc­tures of the wrappings of the second one. He writes the text: "Relationships between texture and weft, the other reality of the dis­carded object".

Based on typographical accessories, he gath­ers together knotted strings, bundles of twigs and creates objects with polychrome canvases made up of left-over moppings-up, his work as a chromist in printing helping in the creat­ing of these specific tools.

First placing together of a rope ladder made to accompany its imprint on canvas. He ex­hibits La Figurologie in Geneva in the Musée de l’Athénée.
François Mathey invites him to take part in the Grand Palais in "12 ans d'art contempo­rain 71/72” . 
He shows large-scale works in the exhibition. 
“Impact II” in the Musée d’art moderne in Céret. 

Jaccard replaces manufactured ropes with his own tools made up of knots, ties, splices, knot-works, in such a way that the tracing tool becomes the meaning of the painting's furnishings. The marking tools, tracers, car­riers of emblematic signs therefore become the furnishings of the painting. 

During the Occitan Festival in Montauban, he decides on an ephemeral experience which consists of burning small tools of plaited hemp and bags in hessian placed in squares. Experiments with fabric sculptures. 

He was in London during the French Month, to present at the Institute of Contemporary Art, the tools and imprints of string and gives a conference. He represents France in the XIIth Sao Paulo Biennial. He is invited to the VIIIth Paris Biennale. 

Start of the 12 canvas-tool couples. 

Series of Rubbed-out canvases: the support covering a soulless rope, the tracings of color occur gradually. He undertakes the first bound signs with an iron. He starts the Burned canvases by making tools armed with combustible black or white wicks which transform color and support by burning. 

Takes part in the travelling show (1974-1976) "Nouvelle peinture en France (pratiques/thé­ories)”.

He responds to Germain Viatte's invitation "10 projects for La Defense-Courbevoie area'', with Ed Ruscha, Larry Bell, Takis, Jean Degottex, Gerard Singer, François Mo­rellet and Xavier Lalanne. 

He exploits the strength of the converging winds specific to the site of La Defense by in­venting cut-wind ladders and by topping the skyscrapers with numerous windmills. 

Continues the Burned canvases by systemati­cally deconstructing the material support and watering down the pigments. During the year he carries out a correspondence with Germain Viatte which is published in No.3 of Art Ca­hier (S.M.I. Paris) Presents 12 canvas-tool couple and recent imprints in the travelling show in the Musée de l' Abbaye Sainte-Croix des Sables-d'Olonne, in the Musee des Arts Décoratifs in Nantes, in the Centre National d'art contemporain in Paris and in the Musée d' Art Moderne in Céret. 

Prelude to Trophées he creates Noedecuir in conjunction with the book binder Jean Terme: a series of knot-works etched on tanned leather. He writes for the magazine Art Press “Reflections/Motivations/Connotations’. Yves Michaud writes the preface for the travelling show "Couple toile-échelle, out­ils et toiles calcinées" (Musée d' Art et d'In­dustrie in Saint-Etienne and the French Insti­tute in Stockholm). 
He is appointed professor in the art and ar­chitecture school in Marseille-Luminy.
Exhibits the couple toile-échelle in the galerie Beaubourg and the Toiles calcinées at the gal­erie Piltzer in Paris. 

He starts the series of Trophées, pieces of burned leather, in parallel with various com­bustions, on paper. He travels to London for the exhibition "Canvases without Stretchers" put on at the Gimpel gallery. He is invited to the I.C.A. in Los Angeles for the exhibition "Unstretched Surfaces".
He makes lithographs of tool imprints in the studio of Marseille-Luminy. 
Creates a "burned wall", a monumental com­bustion integrated into the clinic of Blanc-Mesnil. 

ln Paris the galerie Piltzer shows a selection of Trophées. La Hune puts together a selection of etchings of tools and books created with the collaboration of poets. 
A series of combustions on Toiles monocentrées.
“Panorama de l'art en France 1960/1975” : travelling exhibition in Europe, North Africa and in the Middle East (1976-1978). 
Retrospective of the Paris Biennale in the Seibu Museum in Tokyo. 

Undertakes his first combustions on post­cards: he chooses to use as support given over to fire, old unsigned paintings, (portraits, ac­ademic studies, religious and profane scenes). Jaccard begins the series of Anonymous burn­outs, at Saint-Jean-du-Gard. On that subject he carries out a correspondence "Letters to a friend" and continues in parallel his Ignigra­phies on paper. 
Travelling show of "Suites calcinées 1976/79” at ARC-Musée d'Art moderne de la Ville de Paris and in the Sonia Henie-Niels Onstad Foundation in Høvikodden. 
He creates the sets and costumes for a chore­ography of Douglas Dunn's in the Ballet­ Theatre français of Nancy. 
Takes part in the exhibition "Tendance de l’art en France" organised by Marcelin Pley­net at the Musée d'Art moderne de la Ville de Paris. 

Meets Carl André. 

Finishes and exhibits the Mini-outils: inter­weavings of linen with melted gold, followed by other series of Outils graphités. Carries on with the Anonymes calcinés and combustions on papers. 
Takes part in the exhibition "Art'80 Euro­pean New Tendencies Austria and France" in New York. 

Spends some time in Brazil and travels down the Rio Negro with Franz Kracjberg. 
Invited to the International Print Biennial in Ljubljana in Yugoslavia; to the 4th Biennial in Medellin, Columbia, to the 2nd Interna­tional Drawing Triennial in Wroclaw, Po­land. 
Jaccard undertakes several interventions in the école normale supérieure of Paris-Cachan. He increases the Anonymes calcinés with a se­ries of monumental portraits of film stars (Galabru, Louis Jouvet, Rita Hayworth, Gary Cooper, Simone Signoret, Clint Eastwood, Monica Vitti; Jean-Louis Barrault, Madeleine Renaud, etc.) 
He settles into the Xlllth arrondissement in Paris. 

He writes a text on the Anonymes: "De l'icon­oclastie-Manifeste" published in l'Ennemi (Editions Bourgois). 
D.G. Laporte prefaces the first exhibition of the "Anonymes calcinés" in Paris, Galerie Jan Six.
Start of the Pièces blanches brûlées which he continues during the following year on canvas, raw or sized, an on paper, whose only pictoral reality comes from an overspill of the burning, of geometric circular arrangements of safety fuses on different supports. 

He shows the Anonymes calcinées des XIXè and XXè siècles in the galeries des Pochettes-Direction of the Musées de Nice and takes part in the travelling show “20 ans d’art en France 1960/1980” (Germany, Luxembourg, Italy) and in the 3rd European print Biennial in Baden-Baden, with a series of etchings of imprints of tools. 

Starts the series of Litho-brûlages, etchings in which Jaccard applies the principles of slow combustion and which area radical turning point in hi lithographic work. 
He writes “Mots à l’usage du feu” : text for the exhibition catalogue: “Lithographies 1968/1984” in the Artothéque of Montpellier and at Frank Bordas in Paris.
On the occasion of the “Session Art et Paysage barrois”, he traces a path of cinders in the countryside and the ephemeral imprints of two “inigraphies” in the Musée of Bar-le-Duc. 
Takes part in the exhibition "Ecriture dans la peinture", in the Centre National d'art con­temporain in Nice. 
Works in Italy on the site of Bellona and ex­clusively uses the colour red as a homage to Vesuvius and a few years later at La Four­naise (Ile de la Réunion). 
Start of the combustion on Le Rouge émis. 

First retrospective of "Papiers calcines 1974/ 1984" put on at the Centre d'art contempo­rain in Corbeil-Essonnes (preface by Bernard Ceysson). 
Achille Bonito Oliva writes "Le feu glo­rieux", introduction to the travelling show "Le Rouge émis" at the lnstitut Français de Rome then in Naples in 1987 and 1988. 
Jaccard undertakes large formats during the summer in the Cévennes . 

First trip to Egypt during which he takes a sample by rubbings of a series of imprints of reliefs in the pharaonic temples in order then to "ignigraphise" them.
Continues the series of Rouge émis; start of Concept supranodal: to the infinite inventory of knots and ties started since the Seventies. 
Jaccard prefers a proliferating and systematic covering of plaited cords knotted on tridi­mensional more or less identifiable struc­tures.
Takes part in the travelling show "Pictura Loquens: 25 ans d'art en France" in the Centre national d'art contemporain in Nice and in the Palazzo Reale in Milan, organized by G.G. Lemaire.
Starts to cast Outils in lost wax.


Retrospective exhibition "Mille et un objets 1971/1986" in the Maison de la Culture et du Centre Ouest, La Rochelle.
Bernard Noël writes Le Roman des Noeuds: a very well documented essay which constitutes the basic approach to the tools and knots of 1970 to 1987.
Jaccard works on combustions on non-or­thogonal formats (oval, tondo, mandorla) and writes the text: Du manifeste pyrique. He takes part in the travelling show "Les annees 70: les annees Memoire (archéologie du savoir et de l’être)" in the Abbaye Saint Andre de Mey­mac and in the galerie des Ponchettes in Nice. Starts the sketches for Bois pyrogénés.

Travels in the USA. The galerie Denise Cadé Art Prospect, Inc. exhibits Pièces blanches brûlées. 
From slow burning safety fuses, Jaccard adopts the proceeding for :supranodal” recovery in the series of Rouges buissonoeuds. He assembles his studio and travel notes written the previous years on Les Blancs et les Rouges. 

Trip to the Soviet Union and in the Ile de la Réunion, where, in conjunction with the exhibition of “Le Rouge émis” he meets the Malabar communities (walks on fire). 
He spends time in Morocco to run a seminar on etching. 
Inspired by the attempts at burn-beating of 1970, he starts the Brûlis: aerial fires carried out on wood and zinc. Jaccard continues furthermore to cover three-dimensional objects with red braid and starts a series of Litho-com­bustion in red. 
Conference in the visual arts school of Lyon in conjunction with his exhibition at Saint Priest: “Travaux 1983/1989”. 
For the first time he installs the 729 outils 1976/1979 in the galore d’Art Contemporain in Montpellier. 

“Les Blancs et les Rouges 1983/1989”: exhibition in the Musée Cantini in Marseille, in which Jaccard emphasizes the close relationship between the “concept supranodal” and the principles of ignition as being the irretrievable loss of his substance from which the remains and the frantic impulses reactivate the necessary energy in order to elevate his consciousness.  
He continues the burning and create together with the ENAD of Limoges a Concept supranodal in porcelain biscuit-ware. 
He undertakes a monumental combustion of a polyptych for the Hotel de Region in Marseille. 

The galerie Louis Carré & Cie exhibition the Brûlis while the galerie municipale in Vitry-sur-Seine puts on a retrospective itinerary of the years 1980-1990. 

Invited to the exhibition organized by Giovanni Joppolo: “Mise à feu “ with Arman, Bernard Aubertin, Alberto Burri, Yves Klein ... at the Thorigny Gallery in Paris; as well as that organized at le Mans art school in France: L’art est il une connaissance (Georges de La Tour, Roger Ackling, Bernard Faucon, Jean Paul Marcheschi).

Brûlis intramural: Jaccard makes his first all burning using thermal gel at Galerie Louis Carré & Cie.

 Is invited as an artist in residence at the Villa Kujoyama in Kyoto, Japan where he creates many burned polyptychs which are presented at the Tada Gallery in Osaka; at the Itsutsuji Gallery in Tokyo and in the Recent Gallery in Sapporo. The famous Temple Shinkujilui commissions a combustion triptych. William Mimouni produces “L’esprit du feu", a documentary film in which Jaccard describes his work and pictorial practice whose founding principles are the combustion process, the concept supranodal, their dynamics and trace of material. The French Institute of Bucharest, Sofia, Thessaloniki and Athènes co-produce the exposition: Combustions et brûlis 1979-1989.

Invited to the 1st Graphic Art Triennale in Prague (in the Old town hall) and the 11th Triennial engraving in Fredrikstad (Municipal Library). Attends residence in Reunion Island where he creates the Creole conversation, a collaboration with the children the college of La Ravine based on the concept supranodal. He also continues his photographic works from burned and ephemeral processes.

He participates in the Chimériques Polymères (Musée d’art Moderne et Contemporain in Nice, France) an exhibition which focuses on works designed from petro chemical resin.
Drawings and Objects 1975-1995: a travelling exhibition at the Musée d’art moderne in Saint Etienne then at the Centre d’art contemporain in Montbéliard a precursor to those which he will later produce in Japan.

Invited to several exhibitions: Weaving the world: Contemporary Art of Linear Construction at the Musem of Art in Yokoama; Prints, drawings, objects 1972-1995 in the National Museum of Art in Osaka: a traveling exhibition in Japan based on the dynamics of knots and interlacing work developed over the past two decades; The museum of art in Ehime, the Artium Art Gallery in Fukuoka.
Jean-Charles Lebahar (semiotician) publishes an essay titled Christian Jaccard: Processus d’une création (éd. Au même Titre, Paris)
Video interview with P.-A.Boutang: Painter of words, a production of On Line Productions for the french television station La Sept-Arte.

Jaccard creates a series of tableaux éphémères (in situ paintings) in the warehouses of SEITA, at the La Belle de Mai in Marseille and which is documented by the video artist Dominik Barbier.
In collaboration with poets J. J.Guglielmi and Tita Reut, Jaccard makes one-of-a-kind artist books providing combustions on paper that are associated with the authors texts.
He is invited by the Professor JL Binet to a debate at the Ecole du Louvre where he defines his approach through the lens of dissipated energy.

"Les années 70, l’art en cause" (group show), CAPC, Bordeaux (M.Frechuret Commissioner) is a bilanoù Jaccard exhibition presents the genesis of his prints.
"Confrontation"  (solo exhibition) at The Pool MAIR (Roubaix) is a set with respect to "tools" and energies explored in various media as well as a reading of the work in three areas: Years 1970/1980 ; Years 1990/ 2000; Decorative arts.
"Black and white time exposure" is an in situ wall burning  in the exhibition at the Museum of Fine Arts in La Chaux-de-Fonds, Switzerland.

"As a white Dream: l’ensemble d’objets du Concept Supranodal" presented at La Vielle Charité in Marseille by Danièle Giraudy, Director of Museums.  The event and its trace prefaced by Gilbert Lascaux 

Publication of "Les 7 plaies", one-of-a-kind-book with poet Alain Duault

"Block 14" In situ wall burning at Ivry-sur-Seine: in the old kitchens of the Charles Foix Hospital.  A film is realized during the process. Images recorded by Cori Shim, videographer, sound and arrangements captured by Eric La Casa.

Letter Dia Fidia, Sabine goddess, text Jean-Pierre Faye, joined a

"Les Videocombustions 2005-2007" is developed in collaboration with Dominik Barbier is an igneous and electronic concept whose common creative works otherness traces through a succession of events: Ignigraphies (wall burning) played in a loop; their writings are inspired by the in situ works. 

"Lafoliméricourt"; Paris; follows the sequence erected in the wanderings of lost energy, ephemeral painting is a heroic and exciting fiction whose reactive pragmatic scroll the constituent elements of the short lived painting.

Chapel of La Trinidad Castennec, Bieuzy-les-Eaux,

Christian Jaccard ceases to lecture at l’Ecole de Beaux Art in Marseille. Two opportunities to produce in situ wall burnings works are  offered him APCIS 07 Maisons-Alfort, France and Great Wood ; Saint Pierre, Reunion Island. In an abandoned sugar factory, tracing the ephemeral table rhythmic sequences in 11 deploys braisillants flow and entropy of the devices to the right of doorways and corridors of the wasteland. The ardor of the flames book powdery updated positions in the Film table produced L.A.C. by Vincent Mengin.

Le temps fuit irréparable (traveling exhibition) at the Art Center & Literature, Beury Hotel, L'Echelle; The cooperative art center in Montolieu, he is invited to the program Correspondence by Serge Lemoine, the director of the Musée d'Orsay, where he selectes a work of GH Breitner  : Claire de Lune which inspires him to compose a combustion Diptyque: Minuit /  Minuit Ecart Midnight gap which MNAM Centre Pompidou will acquire.

Produces four one-of-a-kind books with three different poets : Ogresse, Strophes et Trophées, Tita Reut, - Poème presque poème, Jean-Pierre Verheggen, - Le drap phallique, Joseph-J. Guglielmi, - La chute des corps, Tita Reut. 

He works on 5 artist books in collaboration with poets Bianu Zeno, Francis Xavier, Joseph-J. Guglielmi, Cristina Castello

The extinction of the reef concept supranodal. Work developed between 2003 and 2010 is exposed in the Church of St. Mary of Annonay which will then become part of the traveling exhibition Energies disspipées. 

Seasonal migrations, GAC, St. Mary's Church in Annonay

Energies Dissipées published by Domain Kerguéhennec.

Polyptych; (Wall burning) 22 '. The chain of flames and their lost energy in the Saint Maclou church which has been fallow and closed since 1950 in Bar-sur-Aube.
Is invited byL'Abbaye Saint André Center for Contemporary Art in Meymac, France to produce a wall burning combustion within its aggregations exhibition. 

 At HEMERO PHAESTOS; (Wall burning) 18 '. In situ artwork invented in the former workshops of the Fonderie Susse Arcueil where Max Ernst, Alberto Giacometti, Stephen Martin, Joan Miro, Germaine Richier, Ossip Zadkine  often frequented. The work is an allusion to fire and molten metal. 
The right of Saint Savinien & Feathers cohort Melle Biennale.

Donation to graphic art firm in Geneva of the work engraved and lithographed. (Sabine Cazenave, Director of Museums of Amiens is curator of the exhibition lied Signa, retrospection boxes, the Picardie Museum in Amiens and Paul Ardenne prefaces the eponymous book. In the late 50s, Christian Jaccard experimented with different combinatorial process ( forged elements ligated) as "tools" temporal markers and indices thoughts (signed mentis); it collects and manufactures a multitude of boxes the relationship of the "tool" at work and at "do" (hand made) symbolizing the flow of elapsed time complement and interactivity with the work produced by combustion and the Concept Supranodal.

Donation at the MAC / VAL in Vitry-sur-Seine of the work: Trophées. During the summer he directed a new round of fuel wicks targets dominated by white and red. Production "tools" continues.

Donation of 14 works to MNAM Pompidou Centre. While in L.A.C. The Réunion Island creates "Signa Mentis 2: The Tool Box", set following the retrospective of boxes presented in Amiens, France. In the wasteland of Anderlecht in Brussels initiated by Jean Boghossian, he performs new burning sequences following the theme of tableaux éphémères.