L’Ogre Etait Le Petit Poucet

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Paperback, 21×30 cm, 20 pages, printrun 200.

“Murders, rapes, mutilations of all kinds … is the catalogue of barbaric acts proposed by Antoine Bernhart soluble in the field of art? Member of the neo-surrealist group Phases in 1968, Antoine Bernhart ended up being excluded from the movement a few years later on the pretext that his pornographic delusions were too extreme. Antoine Bernhart then evolves in alternative spheres to official art and its institutions, and integrates a vast network of designers from the counter-culture, more particularly punk movements, by producing, for example, posters and flyers for groups psychobilly like Cramps or The Meteor.
It is important to note that French punk has left a lasting mark on Western culture as a whole not so much, as is the case in the United States, England or Germany, on a musical and stylistic level, but on a graphic level. Thus, the Bazooka collective, whose post-situationist infiltration strategies have enabled them to play the Trojan horse both through pages of generalist daily newspapers like Liberation, as well as specialized monthly magazines like Actuel. We also find publications with deliberately limited circulation, such as Elles sont de sortie, animated by Pascal Doury and Bruno Richard, whose direct heirs are meeting today in Marseille around the circle brought together by Pakito Bolino under the name of Le Dernier cri, and which have overseen the distribution, both printed and exhibition, of Antoine Bernhart’s work for over ten years.
Another reception area, very far from home, which enthusiastically welcomes the drawings of Antoine Bernhart, that of the Eroguro, Japanese underground movement which roughly translates into “the exaltation of grotesque and cruel sex”. This movement, both literary, theatrical and graphic, comes out of hiding with, for example, the translations into French of the sublime manga of Suehiro Maruo.