This action of artistic sadomasochismo? an action pure surrealist, beyond that to make risvegliare the unconscious one omicida that it lives in all we and that often is expressed in practical the artistic one? also a message of Niki who wants dirci that the art work is born in the same moment in which it is killed, cos? as all the artistic revolutions always are been born from the ashes of that they have preceded to them. Man Ray ? an important point of reference for the Nouveaux R?alistes, gi? in 1935 it anticipates tableaux-pi?ges of Spoerri with the Collage work ou age de the hill. Made curious from the disposition of some objects it leaves you from the domestic servant on a table, blocks the objects with of the glue and frames this composition dictated from the case. In the 1920 Man Ray it executes the Enigma of Isadore Ducasse, one sewing machine wrapped completely with of the tied felt and with of the spago, anticipatrice of trentotto years the empaquetages of Christo. That Christo has seen or not the work of Man Ray, this does not have importance, all and the two artists play very on the straniamento sense and of mystery that an object assumes when it comes for entire or partially hidden alla.vista, moreover the use of the closely tied rope creates of the dynamic lines in all the work giving a sense of tension to an all communicating to us sense of anguish, sadistic constriction, overwhelming imprisonment.

... For Christo whichever type of woven being one of the devout manufatti ones? antichi of the man enclose in if a particular fascination and pu? often to assume one risen of human presence. The woven one softens and hides, and at the same time it puts in prominence the contours and the shapes that obvious were not (like every taylor very know). A empaquetage it transforms us? that? impacchettato, it renders it devout? sensuale, devout? scultoreo, devout? mysterious...

The substantial difference between Man Ray and Christo is in the fact that in the impacchettamento Christo completes an action of appropriation of the object, a conceptual operation dictated from one deep reflection. The infondato risk was not that one to reduce the gesture of the impacchettamento to one ritualizzazione, to one finalized operating praxis to the production of fine objects-feticcio to if same. The encounter and the frequentation of Yves Klein (between 1961 and 1962, little months before the dead women of Yves)? of extreme importance in the appropriativa evolution of Christo. The architecture of the air, the zones of sensibilit? pure, the Theatre of the Empty one marks one carried out in the conception of the empaquetage.

Hour? the space the element of comparison and challenge of Christo: the 27 june 1962 without some official permission a formed temporary monument from duecentoquattro benzine drums erects in rue Visconti in full load Saint Germain DES Pr?s to Paris to a nine of evening Rideau de fer stacks to you over the other for the height of approximately four meters and means, bloccando for three hours the surrounding traffic and irritateing and sconcertando the residents who reacted turning upside down improperi and secchiate of water on the guilty. Later on Christo executes the Store-fronts, display windows of reproduced storees to natural and covered largeness from sheet until three quarters of their height. These storees recall to the memory the Empty one of Klein to the gallery of Iris Clert in 1958? how if Christo had had in eredit? _ from Klein the the authorization to impacchettare the empty, the immaterial, the spiritualit? pure. From this Christo moment the worthy heir of Klein becomes a.ragione, from 1962 practically impacchettato of all, objects, persons, monuments, bridges, buildings, entire spiagge and islands, valleys, rivers and seas are furrow to you from its drop curtains. The art? conciliated with the world perch? the same world? fact art.

that link to the qoute's untranslated source wont load in safari, but will via google image / somewhat translated by babel fish


- bill 2-11-2005 10:05 pm [add a comment]

If I understand the article correctly, that blank link is the right one.
- alex 2-12-2005 2:55 am [add a comment]

'Enigme d'Isidore Ducasse is one of the most captivating and celebrated icons of Dada and Surrealist expression and together with Marcel Duchamp's Readymades, had a profound influence on Post-War artists including Christo. Assembled in New York in 1920, the original work consisted of an unidentified object wrapped in a blanket and tied with rope. It was photographed by Man Ray and then intentionally dismantled. According to Francis Naumann: "Man Ray wanted the viewer to believe that two rather commonplace objects were hidden under the carpet. The only way a viewer could know what they were, though?and thus solve the riddle?was to have been familiar with the writings of the obscure, though extremely influential, French author Isidore Ducasse, whose pseudonym was the Comte de Lau­tréamont. During the near half-century that had passed since his death, Ducasse's writings were largely forgotten?until they were rediscovered by André Breton, who saw the author's outrageous and flamboyant style as a forerunner of dadaism and immediately published excerpts of his writings in Littérature, the avant-garde French magazine that he helped to edit." (Naumann, op. cit., pp. 80-83).Enigme d'Isidore Ducasse is one of the most captivating and celebrated icons of Dada and Surrealist expression and together with Marcel Duchamp's Readymades, had a profound influence on Post-War artists including Christo. Assembled in New York in 1920, the original work consisted of an unidentified object wrapped in a blanket and tied with rope. It was photographed by Man Ray and then intentionally dismantled. According to Francis Naumann: "Man Ray wanted the viewer to believe that two rather commonplace objects were hidden under the carpet. The only way a viewer could know what they were, though?and thus solve the riddle?was to have been familiar with the writings of the obscure, though extremely influential, French author Isidore Ducasse, whose pseudonym was the Comte de Lau­tréamont. During the near half-century that had passed since his death, Ducasse's writings were largely forgotten?until they were rediscovered by André Breton, who saw the author's outrageous and flamboyant style as a forerunner of dadaism and immediately published excerpts of his writings in Littérature, the avant-garde French magazine that he helped to edit." (Naumann, op. cit., pp. 80-83).

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- bill 5-30-2007 11:21 pm [add a comment]