{"id":51974,"date":"2019-12-05T20:36:11","date_gmt":"2019-12-05T19:36:11","guid":{"rendered":"https:\/\/alexandra-exter.net\/?page_id=51974"},"modified":"2019-12-23T16:33:09","modified_gmt":"2019-12-23T15:33:09","slug":"polluted-bibliography","status":"publish","type":"page","link":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/","title":{"rendered":"Polluted bibliography"},"content":{"rendered":"\n\n\n<h2 class=\"wp-block-heading\"> <em>ALEXANDRA EXTER by Jean Chauvelin and Nadia Filatoff<\/em><\/h2>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>At the end of 2003 Max Milo \u00c9ditions in Paris published the book ALEXANDRA EXTER, subtitled A MONOGRAPH  <mfn>Cf. l\u2019article de Genevi\u00e8ve Breerette dans Le Monde dat\u00e9 du 5 d\u00e9c. 2003. <\/mfn> Its authors: Jean Chauvelin and Nadia Filatoff. The publication also included two previously published articles&nbsp;: <\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Alexandra Exter\u2019s marionettes<\/strong> by John E. Bowlt (published in 1975),<\/li><li><strong>Alexandra Exter in Kiev<\/strong> by Dmytro Horbachov (1988).  <\/li><\/ul>\n\n\n\n<p>This richly illustrated book sheds no new light on the artist\u2019s work and  little in the way of previously unpublished biographical or artistic  information.<mfn>\u00c0 part de nombreuses erreurs biographiques, il y manque des \u00e9l\u00e9ments essentiels de la carri\u00e8re d\u2019Alexandra Exter telle sa grande exposition moscovite de plus d\u2019une centaine d\u2019\u0153uvres qui fut consid\u00e9r\u00e9e comme une r\u00e9trospective personnelle, le s\u00e9jour \u00e0 Odessa, pourtant d\u00e9j\u00e0 bien \u00e9tudi\u00e9e, son exposition personnelle en Angleterre et autres.<\/mfn> On the other hand, it features a great number of previously unknown  works incorporated amongst known and well recorded works belonging for  the most part to duly inventoried public Russian and Western  collections.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-full\"><img decoding=\"async\" width=\"304\" height=\"360\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Chauvelin-Exter.jpg\" alt=\"\" class=\"wp-image-51678\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Chauvelin-Exter.jpg 304w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Chauvelin-Exter-253x300.jpg 253w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Chauvelin-Exter-127x150.jpg 127w\" sizes=\"(max-width: 304px) 100vw, 304px\" \/><\/figure><\/div>\n<\/div>\n<\/div>\n\n\n\n<p>The demonstration starts on the cover of the book with an unknown  abstract painting (ill. 115 inside the book, p. 132) bearing a signature  that is also unknown to date.<\/p>\n\n\n\n<p>It would be fastidious to provide a detailed commentary on every one of  the \u201cnew works\u201d put into circulation by this publication. <\/p>\n\n\n\n<p>But a few comments are necessary from the outset:<\/p>\n\n\n\n<p>With the exception of two theatrical works (small-scale gouaches on  paper that are unsigned), all the \u201cnew\u201d works, that were therefore previously unknown, carry the reference \u201cprivate collection.\u201d They are not historically documented in the artist\u2019s lifetime or in that of the  heir to her production, Simon Lissim (died in 1981), because none of  these signed works come from the Lissim heritage, nor do they figure in  the archives of the artist or her heir. <\/p>\n\n\n\n<p>Aside from the apparent stylistically incoherent aspect of some of  the works and the stylistic mistakes (see below), not to mention the  manner of painting and the formal execution that differ surprisingly  from the rigorous approach that characterizes Alexandra Exter\u2019s work,  the book features some previously unknown series in the artist\u2019s output. These include, for example, a series of theatrical costume projects (for Romeo and Juliet, winter 1920-1921) in oil on canvas (to date, we  have no knowledge of anything of this kind, and for good reason, since  the use of oil painting conflicts with the destination of the work). <\/p>\n\n\n\n<p>There are series of abstract compositions inspired by other known  abstract compositions by Exter when she did not work in \u201cseries\u201d.<\/p>\n\n\n\n<p>\u201cVariations\u201d on Cubist, Futurist and  abstract works, all of which are signed (whereas the original versions  are rarely signed) and whose execution does not correspond to the  artist\u2019s manner.  <\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Stylistic mistake <\/h3>\n\n\n\n<p>Page 229 features a \u201cstudy\u201d for a well-known work by the artist \u2013 <em>Construction <\/em>1923  (96 x 96 cm, in the MOMA collection in New York; the work was part of  the Lissim heritage and comes directly from the artist\u2019s&nbsp; studio). Other  \u201cvariations\u201d of this composition have surfaced since 2003. These works  bear a signature that is incorrectly placed in relation to the  composition \u2013 in other words, if the signature were correct, the  composition would have to be turned incorrectly by 90\u00b0. This anomaly is  easy enough to explain by the fact that the painting was hung  incorrectly at the MOMA in the mid-nineteen eighties. This mistake  wasn\u2019t corrected until the end of 2008 (see the hanging and reproduction  in the catalogue to the recent exposition \u201c<a href=\"\/?page_id=50865\">Rodchenko-Popova&nbsp;: Defining  Constructivism<\/a>\u201d, at the Tate Modern in London, 2009, where a small  section of Exter\u2019s works has been included)<em><a href=\"\/?page_id=50865\">.<\/a><\/em><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The proposed signatures <\/h3>\n\n\n\n<p>A reference chart of signatures figures at the end of the volume \u2013 page  413 \u2013 with 5 signatures, and the following comment: \u201caside from rare  exceptions, Alexandra Exter\u2019s works are signed or monogrammed in Latin  or Cyrillic letters\u201d (Indeed! What would be the other likely  possibilities&nbsp;?). <\/p>\n\n\n\n<p>Contrary to the rules of a professional work of documentation worthy of  this name, the five signatures proposed here are not accompanied by any  bibliographic or documented reference, no verifiable reference of any  sort as to the source of the information, or even in relation to works  from which they come other than the book where they figure (2003).  <\/p>\n\n\n\n<h3 class=\"wp-block-heading\"> In conclusion<\/h3>\n\n\n\n<ul class=\"wp-block-list\"><li>We do not know from which works the new signatures derive. <\/li><li>Not one comes from&nbsp; a work from an identified public or private collection. <\/li><li>No historical or documentary reference is provided. <\/li><li>No reference to works known and\/or listed during the lifetime of the artist or that of her heir Simon Lissim is given. <\/li><\/ul>\n\n\n\n<p>There is no choice but to consider these signatures hypothetical and  requiring verification, which was what we were obliged to do when  examining some of the \u201cnew\u201d works when they have been exhibited or put  on sale. (Verifications and handwriting study practiced for the first  time in Paris in early summer 2006). <\/p>\n\n\n\n<p>The 2<sup>nd<\/sup> and 5<sup>th<\/sup> signature (from top to  bottom on page 413) are \u201cnew\u201d, meaning, unknown in the work of the  artist before the date of this publication (2003). In addition, all of  the works on which these signatures appear are referenced as being in  \u201cprivate collections\u201d, known only to the authors of this publication,  since they were never exhibited or published before.<\/p>\n\n\n\n<p> A handwriting examination of signature 2 by Madame Petit de Mirbeck,  handwriting expert at the Appellate Court in Paris concluded that it is a  <strong>calligraphy <\/strong>and not properly speaking <em>a signature<\/em> <mfn>Un recensement d\u2019autres signatures sera fourni sur le site internet de l\u2019association Alexandra Exter d\u2019ici peu, la mise en ligne ayant \u00e9t\u00e9 retard\u00e9e en raison de l\u2019action des autorit\u00e9s de justice de Tours suite \u00e0 une plainte contre X ayant aboutie \u00e0 la saisies de l\u2019exposition Exter pr\u00e9sent\u00e9e au Ch\u00e2teau de Tours fin janvier 2009. <\/mfn><\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Works published in the 2003 volume whose attribution is questionable <\/h3>\n\n\n\n<p>Faced with the impossibility of examining all the new works published in  this book, the comments here are limited to those with a univocal  stylistic aspect and\/or works that have been accessible in recent years  (usually because they were on view for public auction). <\/p>\n\n\n\n<p>The list below is a first draft for a complete listing to be drawn up in  the future; it refers to illustrations in the 2003 publication,  indicated by illustration number and page. The asterisk refers to works  belonging to series that figure in the 2009 Tours exhibition&nbsp;:  <\/p>\n\n\n\n<p>12*\/p.34 &nbsp; 13*\/p.35 &nbsp; 14*\/p. &nbsp; 36 &nbsp; 15*\/p.37 &nbsp; 16*\/p.38 &nbsp; 19*\/p &nbsp; .45\n &nbsp; 21*\/p.48 &nbsp; &nbsp; 22*\/p.49 &nbsp; 25*\/p.53 &nbsp; 26*\/p.54 &nbsp; 27*\/p.54 &nbsp; 41*\/p.67 &nbsp; \n42*\/p.68 &nbsp; 48*\/p.77 &nbsp; 52*\/p.79 &nbsp; &nbsp; 54*\/p.81 &nbsp; 57*\/p.84 &nbsp; 71*\/p.93<br>\n87*\/p.107 &nbsp; 88*\/p.108 &nbsp; 89*\/p.109 &nbsp; 90\/p.110 &nbsp; 96\/p.116 &nbsp; 109*\/p.125 &nbsp; \n110*\/p.126 &nbsp; 111*\/p.127 &nbsp; 112*\/p.128 &nbsp; 113*\/p.129 &nbsp; 115*\/p.132-3 &nbsp; \n121*\/p.141<br>\n126*\/p.147 &nbsp; 129*\/p.149 &nbsp; 135*\/p.154 &nbsp; 142*\/p.162 &nbsp; 144*\/p.166 &nbsp; \n145*\/p.167 &nbsp; 150*\/p.174 &nbsp; &nbsp; 151*\/p.175 &nbsp; 193\/p.211 &nbsp; 217*\/p.229 &nbsp; \n221*\/p.235 &nbsp; 227\/p.238 &nbsp; 228\/p.239 &nbsp; 231\/p.241 &nbsp; &nbsp; 232\/p.242 &nbsp; 251\/p.258<br>\n312\/p.333 &nbsp; 331\/p.351 &nbsp; 341\/p.357 &nbsp; &nbsp; 342\/p.357 &nbsp; 345\/p.358 &nbsp; 367\/p.404 &nbsp; 368\/p.405 <\/p>\n\n\n\n<p>The illustrations 255*\/pages 264-271 were on view at the 2009 Tours  exhibition; the inscriptions were rejected by the handwriting study  conducted in February 2009 in relationship with the Tours exhibition.<\/p>\n\n\n\n<p>Illustration 267\/p. 277 raises the question of a signature that seems to  be traced over a pencil inscription. The question will remain open  until the original can be examined. <\/p>\n\n\n\n<p> <strong><em>Note<\/em><\/strong>&nbsp;: a number of these works, along with  \u201cversions\u201d of, or \u201cvariations\u201d on them, form large series that  circulated in public auctions or in commercial galleries that are  separately listed (see the sections&nbsp;: public sales and collections, and  comments on the <a href=\"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition-and-defending-the-integrity-of-alexandra-exters-work\/\">Tours exhibition<\/a>, 2009). <\/p>\n\n\n\n<h2 class=\"wp-block-heading\">ALEKSANDRA EKSTER&nbsp;: CVETOVYE RITMY \/ ALEXANDRA EXTER, FARBRYTHMEN by Georgij Kowalenko, Gos. Russkij Muzej, Palace Editions, Saint Petersbourg, 2001  <\/h2>\n\n\n\n<p>The reproductions included in this publication call for fundamental  reservations for stylistic reasons but also and especially because of an  imaginary provenance that discredits the attribution all the more. See \u201c<a href=\"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/imaginary-provenances\/\">Imaginary Provenances<\/a>\u201d on this site. <\/p>\n\n\n\n<p>L\u2019exposition Alexandra Exter pr\u00e9sent\u00e9e par le Mus\u00e9e d\u2019Art  Contemporain de Moscou a \u00e9t\u00e9 accompagn\u00e9e de la publication d\u2019un livre  intitul\u00e9 Alexandra Exter et dont l\u2019auteur est Georgy Kovalenko. Dans un  volumineux ouvrage de 304 pages l\u2019auteur reproduit une grande quantit\u00e9  d\u2019\u0153uvres dont l\u2019attribution \u00e0 Alexandra Exter a d\u00e9j\u00e0 \u00e9t\u00e9 comment\u00e9e sur  ce site ou m\u00e9riterait de l\u2019\u00eatre car plusieurs parmi ces attributions ne  paraissent pas acceptables.<\/p>\n\n\n\n<p>Sur les pages 137 \u00e0 146 figurent 23 gouaches dites \u00ab&nbsp;Rythme de couleurs&nbsp;\u00bb  que l\u2019on conna\u00eet d\u00e9j\u00e0 de pr\u00e9c\u00e9dentes publications, il en est de m\u00eame  pour la toile Ville, 1911, p. 64 et  Les ponts de Paris, 1912, p. 86-87  pour ne citer que les plus connus. <\/p>\n\n\n\n<figure class=\"wp-block-gallery aligncenter columns-2 is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\"><ul class=\"blocks-gallery-grid\"><li class=\"blocks-gallery-item\"><figure><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-713x1024.jpg\" data-rel=\"lightbox-image-0\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"713\" height=\"1024\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-713x1024.jpg\" alt=\"Faux tableau\" data-id=\"51683\" data-link=\"https:\/\/alexandra-exter.net\/exposition-de-tours\/pollution-bibliographique\/kovalenko-i\/\" class=\"wp-image-51683\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-713x1024.jpg 713w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-209x300.jpg 209w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-104x150.jpg 104w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-768x1103.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I-418x600.jpg 418w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-I.jpg 1044w\" sizes=\"(max-width: 713px) 100vw, 713px\" \/><\/a><\/figure><\/li><li class=\"blocks-gallery-item\"><figure><a href=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II.jpg\" data-rel=\"lightbox-image-1\" data-rl_title=\"\" data-rl_caption=\"\" title=\"\"><img decoding=\"async\" width=\"731\" height=\"1024\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-731x1024.jpg\" alt=\"\" data-id=\"51686\" data-full-url=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II.jpg\" data-link=\"https:\/\/alexandra-exter.net\/exposition-de-tours\/pollution-bibliographique\/kovalenko-ii\/\" class=\"wp-image-51686\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-731x1024.jpg 731w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-214x300.jpg 214w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-107x150.jpg 107w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-768x1076.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II-428x600.jpg 428w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-II.jpg 1071w\" sizes=\"(max-width: 731px) 100vw, 731px\" \/><\/a><\/figure><\/li><\/ul><figcaption class=\"blocks-gallery-caption\"> Gouaches faussement atribu\u00e9es \u00e0 A. Exter <\/figcaption><\/figure>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p> Il en est de m\u00eame pour La nature morte, 1914 de la page 120 \u00ab&nbsp;\u0153uvre&nbsp;\u00bb  qui s\u2019apparente en tout point aux imitations pr\u00e9sent\u00e9es \u00e0 l\u2019exposition  de Tours. Quant aux compositions abstraites on signalera les  illustrations p. 150, p. 159, p. 161, p. 162, p. 168, p. 178-179, et  d\u2019autres. Une seule parmi ces \u0153uvres figurait \u00e0 l\u2019exposition de Moscou,  sa juxtaposition avec des \u0153uvres indiscutables de l\u2019artiste offrait une  excellente occasion pour voir les diff\u00e9rences. Ce qui choque \u00e9galement  dans ce livre c\u2019est la qualit\u00e9 de certaines reproductions dans la  premi\u00e8re partie de l\u2019ouvrage o\u00f9 les couleurs \u00ab&nbsp;noircies&nbsp;\u00bb \u00e0 souhait sont  totalement d\u00e9natur\u00e9es, \u00e0 tel point qu\u2019on se pose la question des  raisons de cet aspect des reproductions et des raisons qui ont pu  pousser un auteur \u00e0 pr\u00e9senter des illustrations aussi d\u00e9form\u00e9es que  celles en pages 83, 101, 105, 115 et 128. Un deuxi\u00e8me volume de cette  publication a \u00e9t\u00e9 \u00e9galement annonc\u00e9 mais il n\u2019est pas paru \u00e0 ce jour.  <\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-intermediaire\"><img decoding=\"async\" width=\"387\" height=\"600\" src=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-387x600.jpg\" alt=\"\" class=\"wp-image-51690\" srcset=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-387x600.jpg 387w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-194x300.jpg 194w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-661x1024.jpg 661w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-97x150.jpg 97w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville-768x1190.jpg 768w, https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Kovalenko-ville.jpg 968w\" sizes=\"(max-width: 387px) 100vw, 387px\" \/><figcaption> Ville, faussement attribu\u00e9 \u00e0 A. Exter <\/figcaption><\/figure><\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>ALEXANDRA EXTER by Jean Chauvelin and Nadia Filatoff At the end of 2003 Max Milo \u00c9ditions in Paris published the book ALEXANDRA EXTER, subtitled A MONOGRAPH Cf. l\u2019article de Genevi\u00e8ve Breerette dans Le Monde dat\u00e9 du 5 d\u00e9c. 2003. Its authors: Jean Chauvelin and Nadia Filatoff. The publication also included two previously published articles&nbsp;: Alexandra [&hellip;]<\/p>","protected":false},"author":1,"featured_media":51576,"parent":51958,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"class_list":{"0":"post-51974","1":"page","2":"type-page","3":"status-publish","4":"has-post-thumbnail","6":"entry"},"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.7 (Yoast SEO v27.3) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Polluted bibliography - Association Alexandra Exter<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Polluted bibliography\" \/>\n<meta property=\"og:description\" content=\"ALEXANDRA EXTER by Jean Chauvelin and Nadia Filatoff At the end of 2003 Max Milo \u00c9ditions in Paris published the book ALEXANDRA EXTER, subtitled A MONOGRAPH Cf. l\u2019article de Genevi\u00e8ve Breerette dans Le Monde dat\u00e9 du 5 d\u00e9c. 2003. Its authors: Jean Chauvelin and Nadia Filatoff. The publication also included two previously published articles&nbsp;: Alexandra [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/\" \/>\n<meta property=\"og:site_name\" content=\"Association Alexandra Exter\" \/>\n<meta property=\"article:modified_time\" content=\"2019-12-23T15:33:09+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Archives.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"4000\" \/>\n\t<meta property=\"og:image:height\" content=\"962\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"8 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/the-tours-exhibition\\\/polluted-bibliography\\\/\",\"url\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/the-tours-exhibition\\\/polluted-bibliography\\\/\",\"name\":\"Polluted bibliography - Association Alexandra Exter\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/the-tours-exhibition\\\/polluted-bibliography\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/the-tours-exhibition\\\/polluted-bibliography\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/alexandra-exter.net\\\/wp-content\\\/uploads\\\/sites\\\/2\\\/2019\\\/12\\\/Archives.jpg\",\"datePublished\":\"2019-12-05T19:36:11+00:00\",\"dateModified\":\"2019-12-23T15:33:09+00:00\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/the-tours-exhibition\\\/polluted-bibliography\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/the-tours-exhibition\\\/polluted-bibliography\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/the-tours-exhibition\\\/polluted-bibliography\\\/#primaryimage\",\"url\":\"https:\\\/\\\/alexandra-exter.net\\\/wp-content\\\/uploads\\\/sites\\\/2\\\/2019\\\/12\\\/Archives.jpg\",\"contentUrl\":\"https:\\\/\\\/alexandra-exter.net\\\/wp-content\\\/uploads\\\/sites\\\/2\\\/2019\\\/12\\\/Archives.jpg\",\"width\":4000,\"height\":962},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/the-tours-exhibition\\\/polluted-bibliography\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"The Tours exhibition and defending the integrity of Alexandra Exter\u2019s work\",\"item\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/the-tours-exhibition\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Polluted bibliography\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/\",\"name\":\"Association Alexandra Exter\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/alexandra-exter.net\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Polluted bibliography - Association Alexandra Exter","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/","og_locale":"en_US","og_type":"article","og_title":"Polluted bibliography","og_description":"ALEXANDRA EXTER by Jean Chauvelin and Nadia Filatoff At the end of 2003 Max Milo \u00c9ditions in Paris published the book ALEXANDRA EXTER, subtitled A MONOGRAPH Cf. l\u2019article de Genevi\u00e8ve Breerette dans Le Monde dat\u00e9 du 5 d\u00e9c. 2003. Its authors: Jean Chauvelin and Nadia Filatoff. The publication also included two previously published articles&nbsp;: Alexandra [&hellip;]","og_url":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/","og_site_name":"Association Alexandra Exter","article_modified_time":"2019-12-23T15:33:09+00:00","og_image":[{"width":4000,"height":962,"url":"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Archives.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_misc":{"Est. reading time":"8 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/","url":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/","name":"Polluted bibliography - Association Alexandra Exter","isPartOf":{"@id":"https:\/\/alexandra-exter.net\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/#primaryimage"},"image":{"@id":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/#primaryimage"},"thumbnailUrl":"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Archives.jpg","datePublished":"2019-12-05T19:36:11+00:00","dateModified":"2019-12-23T15:33:09+00:00","breadcrumb":{"@id":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/#primaryimage","url":"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Archives.jpg","contentUrl":"https:\/\/alexandra-exter.net\/wp-content\/uploads\/sites\/2\/2019\/12\/Archives.jpg","width":4000,"height":962},{"@type":"BreadcrumbList","@id":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/polluted-bibliography\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/alexandra-exter.net\/en\/"},{"@type":"ListItem","position":2,"name":"The Tours exhibition and defending the integrity of Alexandra Exter\u2019s work","item":"https:\/\/alexandra-exter.net\/en\/the-tours-exhibition\/"},{"@type":"ListItem","position":3,"name":"Polluted bibliography"}]},{"@type":"WebSite","@id":"https:\/\/alexandra-exter.net\/en\/#website","url":"https:\/\/alexandra-exter.net\/en\/","name":"Association Alexandra Exter","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/alexandra-exter.net\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"}]}},"_links":{"self":[{"href":"https:\/\/alexandra-exter.net\/en\/wp-json\/wp\/v2\/pages\/51974","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alexandra-exter.net\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/alexandra-exter.net\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/alexandra-exter.net\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alexandra-exter.net\/en\/wp-json\/wp\/v2\/comments?post=51974"}],"version-history":[{"count":0,"href":"https:\/\/alexandra-exter.net\/en\/wp-json\/wp\/v2\/pages\/51974\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/alexandra-exter.net\/en\/wp-json\/wp\/v2\/pages\/51958"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alexandra-exter.net\/en\/wp-json\/wp\/v2\/media\/51576"}],"wp:attachment":[{"href":"https:\/\/alexandra-exter.net\/en\/wp-json\/wp\/v2\/media?parent=51974"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}