Kiki Picasso

Kiki Picasso
Kiki Picasso
Born	Christian Chapiron 15 April 1956 (1956-04-15) (age 68)
Occupation	writer

Christian Chapiron, also known as Kiki Picasso, was born on 15 April 1956 in Nice. He is a multidisciplinary artist, a member and founder of the Bazooka movement, which notably collaborated with the newspaper Libération and the magazine Un Regard moderne in the late 1970s.

After the dissolution of Bazooka, he pursued a career as a graphic designer for television, working on the visual identity of numerous shows. In the 1980s, he became one of the first artists to use the PaintBox, the first graphic tablet. He has directed music videos, designed album covers, and created illustrations while also producing personal works. In 1984, he illustrated a limited edition of the first Swatch watch.

He served as the artistic director of the magazine Maintenant, the first French media outlet to denounce France's involvement in the Rwandan genocide, in 1995. In 2000, the Bazooka team reunited to create a web version of Un Regard moderne, illustrating the daily dominant news. In 2002, he directed the film Traitement de substitution N°4, which compiled his video works created with the PaintBox. In recent years [When?], he has been focusing more exclusively on painting while continuing his activist engagement, particularly with the drug user aid association Asud.

Career

The Name "Kiki Picasso"

Christian Chapiron adopted the pseudonym "Kiki Picasso" in 1976 when, with Bazooka, he drew for Libération as a form of provocation, following criticism accusing Bazooka members of "doing anything."

The Picasso family filed a lawsuit for identity theft, but it ultimately had no consequences.

The Bazooka Years (1976 - 1981)

Christian Chapiron met the members who would form the Bazooka group at the Paris School of Fine Arts: Loulou Picasso, Olivia Clavel, Lulu Larsen, Bernard Vidal, and Philippe Bailly.

The creation of Bazooka stemmed from the realization that the spaces offered by artistic institutions, particularly galleries, did not provide the freedom needed to disseminate their creations or reach the public they wanted to engage.

The group adopted a guerrilla-like approach against institutions, attacking galleries with smoke bombs or snowballs.

Bazooka's philosophy was to create art on platforms other than gallery walls, favoring media outlets. They developed a style that could be described as image collages, using various sources (news, art, comics) and reworking them with different techniques (drawing, painting). L.L. de Mars described it as a "collage of collages."

The Magazine Bazooka and Bulletin Périodique (1975–76)

The first issue of the Bazooka magazine was initially set to be published by Rolf Kesselring. However, after his business went bankrupt, the group decided to print the magazine themselves. The second issue was published a few months later under the name Loukhoum Breton.

More comic-oriented than the first, it notably featured a drawing by Christian Chapiron on the Portal case, a news story that had shocked France in the 1970s, where two elderly women murdered their neighbor. He used images of undergarments for elderly people, under the title: "The Underpinnings of the Portal Case."

Active for four years, Bazooka was at the heart of the explosion of fanzines and other independent publications during this period.

The group published works such as Bien dégagé sur les oreilles, a reference to the popular haircut among fascist groups, and Activité sexuelle normale.

In 1976, the collective took over the offices of the defunct magazine Actuel. There, they published the newspaper Bulletin périodique, a large format (48 cm tall) fold-out publication printed in color. After a few months and seven issues, publication ceased, and Bazooka members continued to contribute to other magazines, including Charlie mensuel and Hara-Kiri.

Bazooka at Libération (1977)

In August 1977, the Libération newspaper invited Bazooka to fill empty spaces in the newspaper's layout with on-the-spot drawings. They quickly reinterpreted reporters' photographs, choosing "violent, harsh, spectacular" images to amplify their impact. Kiki Picasso, who called himself a "propagandist artist," implemented a logic of "graphic dictatorship," positioning himself as a "political, mystical leader." At one point, he even subtitled the paper as "the organ of the Reactive Foundation." Bazooka presented itself as an avant-garde group, referencing the Chinese Cultural Revolution and the slogan "America is a paper tiger." Instead of illustrations, they filled blank spaces with fake news items and conspiracy theories, some of which were picked up by AFP. One such rumor was that the Reactive Foundation was buying out the paper, which readers believed. Tensions arose between Bazooka and journalists, particularly in the political section, and provoked strong reactions from readers, especially after a drawing about the ecologists' protest against the Creys-Malville nuclear plant. At a time marked by leftist violence (e.g., Red Brigades, Baader-Meinhof Group), these provocations were explosive. The group reached a breaking point when Kiki Picasso published a pedophilic drawing, shocking the public during a series of child rape cases in Marseille. Bazooka saw itself as testing limits, invoking Egon Schiele's idea that "arresting the artist is a crime, it kills life in its germ." Their goal was to provoke a reaction from readers to create a "boomerang effect."

Kiki Picasso always addressed current events in the first person, a technique that eventually led to multiple lawsuits.

Psychedelic Influence

Bazooka's graphics were influenced by the psychedelic visions its members experienced while on LSD, allowing them to perceive reality from an alternative perspective. This period at Libération also coincided with the group's encounter with heroin. Some members would face harsher struggles when deciding to quit the drug.

Un Regard moderne (1978)

The tensions between Bazooka and Libération's editorial team escalated. Editorial meetings focused primarily on journalists’ complaints, demanding the group's departure. In February 1978, Serge July proposed a solution to remove Bazooka by offering them the chance to create a monthly magazine titled Un Regard moderne, using Libération's infrastructure. Five issues were published between February and August 1978. However, weakened by drugs, the group eventually dissolved, with members going their separate ways, leading to the phrase “Bazooka splits like an ordinary rock band.”

Press

Alongside Libération, Bazooka collaborated with numerous publications, including L'Écho des savanes, Métal Hurlant, Okapi, Playboy, Lui, Marie Claire, Le Nouvel Obs, L'Express, and Télérama. Despite never formally joining Hara-Kiri, Bazooka's members frequently interacted with its older team. Authors Arnaud Baumann and Xavier Lambours, in their book Dans le ventre d’Hara-Kiri, described this collaboration as a “graphic dictatorship” and an “aesthetic overthrow of the press,” labeling Bazooka as “the punk of punk and its absolute peak.”

Music and Nightlife

Bazooka members were heavily involved in the nightlife scene. Loulou Picasso designed the first posters for the Parisian club Les Bains Douches, opened on December 21, 1978. He also created concert posters based on the pool background in the club, an image used for years. Bazooka also created posters for Le Palace, another trendy venue. In December 1987, Kiki Picasso organized a party at Le Palace to celebrate “the first high-definition image creation computer at the service of the world’s greatest artists,” marking the debut of the “first electronic nightclub in history.”

Identified with the punk movement, Bazooka and later Kiki Picasso alone produced numerous album covers, especially for the Skydog label, a major punk reference in France, and directed music videos for artists like Starshooter, Elli et Jacno, Alain Bashung, Sapho, Nicoletta, and Elvis Costello.

Television and the Paintbox Encounter

From 1978 to 1981, Bazooka created the opening credits for Chorus, a TV show on Antenne 2 hosted by Antoine de Caunes. After the group disbanded, Kiki Picasso, who became a father in 1980, began working intensively with television. He was granted access to the Kiron 4, one of the first electronic palettes for making TV graphics, and created his first works on it.

At this time, the Ministry of Culture invited him to participate in the film Six painters in search of computers, alongside renowned artists. They each made a film using Quantel's Paintbox, the first palette offering 16 million colors with a pressure-sensitive stylus. Kiki Picasso saw it as a revolutionary tool for quickly producing work independently.

The Muse Period

After his contract with Antenne 2 ended, Kiki Picasso founded the company Muse and acquired a Paintbox HD, used for photo retouching in print. He partnered with three printing professionals and obtained the machine via leasing for 8 million francs. Although digitalization was costly, Kiki Picasso began working for major advertisers and leased the machine for projects like Jean-Baptiste Mondino's cover for Prince's Lovesexy album.

Art Force Industrie

In 1987, Kiki Picasso partnered with Michelle Gavras to form Art Force Industrie, acquiring a video studio with editing equipment, a Harry video computer, and a Paintbox. This gave him access to advanced tools for creating television graphics, including for Antenne 2, TF1, and Canal+. He also produced a series of videos for Canal+ and the Cité des sciences called Savants fous.

Swatch X Kiki Picasso (1985)

In 1985, Kiki Picasso was commissioned to design a limited-edition Swatch watch, where each piece featured a unique variation of a common motif. These watches are now highly sought after by collectors, valued at around 15,000 euros.

The Magazine Maintenant (1995)

In 1995, Kiki Picasso returned to the press world as the artistic director of the libertarian-leaning magazine Maintenant, which exposed France's involvement in the Rwandan genocide and other political issues.

The Carnival Period

In the late 1990s, Kiki Picasso designed floats for various carnivals, including the Europride and Paris' Fête de la Musique, drawing on the punk energy of his earlier days.

Meeting with Techno

Kiki Picasso encountered the techno movement while researching the soundtrack for his film Traitement de substitution N°4. He met a techno music producer who introduced him to Laurent Ho, one of the pioneers of French industrial techno. Through this connection, Kiki Picasso became acquainted with the collective "Les Teknokrates," which included DJ Kraft. They helped him find affordable equipment to outfit his carnival floats.

The Film Cho! Cho! Cho! (1998)

In 1998, Kiki Picasso followed the unemployed movement with his camera for several weeks, which led to the creation of the film Cho! Cho! Cho!. During this period, he also helped launch Ondes sans frontière, a pirate television station set up by the housing rights association DAL in a squat on rue d'Avron.

Psychoactive (2000)

In 2000, Christian Chapiron published Psychoactif (a hallucinating book) with Christian Vilà through Éditions du Lézard. The book aimed to provide "intelligent and as objective as possible information on the scientific experimentation and so-called recreational use of hallucinogenic drugs, especially LSD." It traces the history of psychedelic drugs and analyzes their role in culture and society. Each page features color illustrations by Kiki Picasso.

Un Regard Moderne 2.0 (2002)

In 2002, Loulou Picasso secured a grant to relaunch Un Regard Moderne as a web-based platform, partially reforming the Bazooka collective. The website covered daily news by selecting important stories from various official news agencies, such as AFP, and pairing them with animated GIF illustrations. Kiki Picasso created nearly 2,000 images for the site, which was named "best news site by Yahoo.fr" in 2003. Filmmaker Chris Marker participated under the pseudonym Guillaume en Égypte in 2004.

Traitement de substitution N°4 (2002)

In the 1990s and 2000s, Kiki Picasso showcased videos he made at PaintBox during techno parties. These videos accompanied the music as part of the VJing practice. In 2002, after meeting a DVD publisher, he compiled these videos into a film titled Traitement de substitution N°4, where he acted alongside singer Brigitte Fontaine.

Improvised Explosive Device (2009)

In 2009, Kiki Picasso published Improvised Explosive Device with Loulou Picasso through Éditions L'Association. It featured a series of diptychs with texts and slogans, along with the complete Animaux Malades series from 1977 to 1978.

The Electric Circus (2014–2017)

Through the techno movement, Kiki Picasso connected with the Cirque électrique, initially contributing by creating a website, a journal (Équilibre optimum), and paintings for its decor. He was later entrusted with a segment called "Kiki's 7 minutes," where he invited guests to speak on various topics, the first being writer Antoine Lefébure. Kiki then took on the role of "Monsieur Loyal," presenting acts for three years, while also working on the circus's decor and visual identity.

An Artwork to Mine Bitcoin (2018)

In 2018, Kiki Picasso became interested in cryptocurrency, particularly Bitcoin. Along with artists Younès and Duroc, he launched a project using computers to mine cryptocurrency as an artistic installation. The goal was to mine Bitcoin to benefit activist, humanitarian, or cultural causes. However, the project was abandoned as the value of cryptocurrencies began to collapse.

Painting – Event Series (Since 2017)

Kiki Picasso turned to painting, despite not being inclined to enter the art market. In 2017, La Maison Rouge commissioned him to create a series of 20 large, horizontal paintings for the exhibition L'Esprit français, contre-cultures, 1969–1989. Each painting represented a significant event from that era, highlighting parallels by superimposing two historical moments on the same canvas.

Personal life

Kiki Picasso, born Christian Chapiron, grew up in an artistic environment. His father was a photographer on movie sets, known for his portraits of stars such as Brigitte Bardot and Jean-Paul Belmondo. His mother was a model. Christian's teachers suggested he become a draftsman or carpenter due to poor academic performance, but he chose drawing, eventually passing the entrance exam for École des Beaux-Arts at 18 and moving to Paris.

Family

Christian Chapiron is the father of singer and stylist Mai Lan and filmmaker Kim Chapiron.

Activism

Kiki Picasso has been involved in libertarian and autonomous circles, squats, and free parties. He collaborated with the housing rights association DAL to establish the pirate TV station Ondes sans frontière in 1998. He has also worked with the drug user advocacy group Asud, designing covers and posters for their publications.

Books

• Dripping Kiki, Kiki Picasso, éd. Jean-Pierre Faur, 1992
• Psychoactif, Christian Chapiron et Christian Vilà, éd. du Lézard, 2000
• Nouvelles haschichiennes, Kiki Picasso et Shilum, éd. du Lézard, 2005
• Engin explosif improvisé, Kiki Picasso et Loulou Picasso, éd. L'association, juin 2009
• Carnival, le rêve d'un ogre ridicule, Eugène Durif et Kiki Picasso, éd. Tohu Bohu, 2019

Bibliography

• Jean Seisser, Les chefs-d'œuvre de Kiki Picasso, éd. Le Dernier Terrain Vague, 1981
• Jean Seisser, La gloire des Bazooka, Robert Laffont 1981

Illustrations

• Théophraste Épistolier, Les Petits Miquets : l'année Bazooka, dans Charlie Mensuel no 113, juin 1978, p. 21
• Couverture de L'Écho des savanes no 37, Éditions du Fromage, 1978
• Bollon, Le droit d'être païen, dans L'Écho des savanes no 37, Éditions du Fromage, 1978
• Rubrique Les monstres nos frères maudits, dans (À suivre) no 10, 1978
• Illustration dans Métal hurlant no 42bis, Les Humanoïdes Associés, 1979
• Couverture du disque de Starshooter: Chez Les Autres (Pathé Marconi, 1980)
• Participation à Coup dur à Stalingrad, dans Métal hurlant no 50, Les Humanoïdes associés, 1980
• Productica industriella, dans Métal Hurlant no 79bis, Les Humanoïdes Associés, 1982
• Les gros spéculateurs ont choisi la télévision pirate, dans L'Écho des savanes no 5, Albin Michel, 1983
• Manœuvre, éditorial du Métal hurlant no 83bis, Les Humanoïdes Associés, 1983
• Participation à Look Rock, de De Memphis Tennessee à Malakoff 92, Altmeyer, Ted Benoit, Bijl, Al Capp, *Caro, Dodo, Druillet, Margerin, Nicollet, Kiki Picasso, Joost Swarte, Vuillemin, Tramber, Wallace Wood, *Sire, Jano, Jijé, Parnel, Peppermans, Tim Clark, ed. Temps Futurs, 1984
• Jackie Berroyer, Du Picasso à la machine, dans (À suivre) spécial Rhythm'n bulles, 1986
• Kathy Acker et Kiki Picasso, Algéria : une suite d'incantation parce que rien d'autre ne marche, éd. Le *Dernier Terrain Vague, 1988
• Couverture du disque Anarchist Republic of Bzzz d'Anarchist Republic of Bzzz (Sub Rosa, 2009)
• Couverture du disque United Diktaturs of Europe d'Anarchist Republic of Bzzz (Bzzz Records, CD/2016, *LP/2018, différentes illustrations pour le CD et le vinyle)
• Freak Wave, no 1, collectif, éd. Orbis Pictus club, 2008.
• Participation à Comicscope de David Rault, l'Apocalypse, 2013

Exhibitions

• Bilan Provisoire [archive], Espace Niemeyer à Paris, du 4 Avril au 7 Mai.
• Bazooka. Un regard moderne (Wharf, Centre d'art contemporain de Basse-Normandie à Hérouville-Saint-*Clair, et Musée de l'Abbaye Sainte-Croix des Sables-d'Olonne), 2005
• Europunk, Villa Médicis, Mamco de Genève, BPS 22 de Charleroi et Musée de la musique de Paris - 2011 à 2013
• L'esprit français, La Maison Rouge, 24 février - 21 mai 2017
• Les chefs-d'œuvre de Kiki Picasso, Emerige Mécénat, Paris, avril - mai 2019
• Psychédélices, musée international des Arts modestes de Sète, 4 juin 2021 - 9 janvier 2022
• Picasso et la bande dessinée, La Cité internationale de la bande dessinée et de l'image, 16 juin 2021 - 2 janvier 2022

Filmography

• Cho! Cho! Cho!, réalisateur, 1998
• Traitement de substitution N°4, réalisateur, 2002
• Sheitan (co-scénariste), de Kim Chapiron, 2006

Clips

• Alain Bashung, L'arrivée du tour [archive], 1986
• Boy George, You are my heroin [archive], 1988
• Jean-Jacques Burnel, Rêves [archive], 1988
• Anarchist Republic of bzzz, Respect the eye [archive], 2016

Télévision

• Chorus de 1978 à 1981 sur Antenne 2 (avec le collectif Bazooka)
• 40° à l'ombre de 1987 à 1997 sur FR3
• Habillage pour la Coupe du monde 1986 de football, sur Antenne 2
• Rira, rira pas de Jean Yanne en 1988 sur Antenne 2
• Télé Caroline animé par Caroline Tresca en 1988 sur FR3
• Télé pour/Télé contre de Joseph Poli en 1989 sur FR3
• C'est l'histoire d'un mec... en octobre 1989 sur La Cinq (sketchs de Coluche)
• Drôles d'histoires en 1989 sur La Cinq (dans lequel on aperçoit Kim Chapiron jeune)
• Tout le monde il est gentil de Jean Yanne en 1989 sur La Cinq
• Les Dicos d'or, 1996, France 3