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View of “Bertrand Lavier,” 2016. From left: Vénus d’Amiens (Venus of Amiens), 2015; Le château des papes (The Papal Palace), 1991; Black Adder II, 2005. Photo: Stefan Altenburger Photography.

Bertrand Lavier

Kunstmuseum Liechtenstein

View of “Bertrand Lavier,” 2016. From left: Vénus d’Amiens (Venus of Amiens), 2015; Le château des papes (The Papal Palace), 1991; Black Adder II, 2005. Photo: Stefan Altenburger Photography.

In the Mickey Mouse adventure “Traits très abstraits,” from Le journal de Mickey, no. 1279 (January 2, 1977), Mickey gets embroiled in a criminal drama in a setting loosely modeled on the Museum of Modern Art, New York. The tale—a Disney foreign-market story originally drawn by Sergio Asteriti for an Italian release called “Topolino e il ladro artistico”—introduces the famous mouse striding through the gallery with his hands in his pockets, both proactive and detached, insouciant. The artworks, playful misinterpretations of Miró, Picasso, and Henry Moore, are not the main object of his attention. He’s more interested in Minnie and crime. For Bertrand Lavier, however, the setting has been of great interest. In the series “Walt Disney Productions,” 1984–, he has used the print illustrations as the basis for the creation of a roomful of large-format paintings and sculptures.

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