and i connect all i have met on the roads with the idea of levitation & flying or impossibility to fly...
"It's quite possible," Philippe Vergne, director of Dia Art Foundation and former deputy director and chief curator at the Walker Art Center, who cocurated the Klein retrospective, told ARTnews. "Remember, he was also a judo master, so the notion of falling was part of his practice. He appropriated something from judo into his art." As Klein wrote in his instruction manual, "Judo is, in fact, the discovery by the human body of a spiritual space."
"Klein's first love wasn't art; it was judo, which he studied from 1946 to 1951, along with his buddies Arman and Claude Pascal. He earned a black belt and worked in Madrid as a judo instructor. At the same time, he explored various spiritual outlets, including Zen Buddhism and the cult of Saint Rita (patron saint of the impossible), and he studied Rosicrucianism with an old astrologer, Louis Cadeaux. In 1952, when he was 24, he went to Tokyo, where he attained the 4th Dan (Yodan) at the famed Kodokan Judo Institute. After returning to Paris, in 1954, he published The Foundations of Judo"
"Klein’s work revolved around a Zen-influenced concept he came to describe as “le Vide” or in English: the Void. Klein’s Void is a nirvana-like state that is void of worldly influences; a neutral zone where one is inspired to pay attention to ones own sensibilities, and to “reality” as opposed to “representation”."
This photomontage, taken by Harry Shunk, was montaged from a number of photos. The leap itself took place at 3 Rue Gentil Bernard, Fontenay-Aux_Roses, in October 1960, using about a dozen Judokas from a Judo School opposite, holding a large tarpaulin to land on. Klein himself was a 4th Dan Judo Master. Shunk then montaged a shot of the empty street onto the photo. In fact there were 3 versions of this photo produced; one with Klein’s 2CV was never used; the one with a train and a cyclist was used for Dimanche; the third with an empty street and without the train was requested by Klein himself the next day to be used in the forthcoming catalogue for his retrospective at Krefeld. This strategy of employing two versions of the same montage, effectively bringing attention to the deception was typical of Klein's artistic strategy.