CHRIS FREMANTLE

What art have I seen? More Christo drawings and collages

Posted in Exhibitions, Uncategorized by chrisfremantle on July 11, 2018

More Christo and Jeanne-Claude, this time at Repetto Gallery. Drawings are all attributed to Christo, though the installed projects are Christo & Jeanne-Claude. One public installation in the Serpentine Lake, one public exhibition at the Serpentine Gallery, two commerical gallery exhibitions simultaneously (Stern Pissarro and Repetto).

I hadn’t realised before that some of the drawings are collages including fabric and string. In particular Wrapped Wall has fabric stapled to the image which is then drawn on, so some of the creases are ‘real’ and some inscribed – remarkable. The more you look at these works, the more they give you.

You can see in the 1976 The Pont Neuf Wrapped collage below that there is fabric inserted into the image – the media are listed as “Pencil, fabric, twine, photograph by Wolfgang Volz, wax crayon, pastel, charcoal and map.”

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What art have I seen? Mastaba by Christo & Jeanne-Claude

Posted in Exhibitions, Sited work by chrisfremantle on July 4, 2018

The Mastaba on the Serpentine, works related to barrels in the Gallery, other works at Stern Pissarro.

Curiously the Mastaba floating on the lake is more like the 2D works in the Gallery than you expect – it has an unreal quality, perhaps because of the formal geometry and the colour too. All the earlier proposals going back to the late 60s are yellow, red and orange, but this is maroon and purple. Maybe more complementary to the greenness of Hyde Park?

There is definitely a Dada streak in this, the absurdity of this large form, just as there is a Dadaism in wrapping things.

Mies van der Rohe said art addresses the conditions of the time – his were industrialisation and mass production. Christo and Jeanne Claude’s work has a curious relation both to industrial and post-industrialisation, but the temporariness – here now, gone in September – reveals more. Temporary abnormality sensitises us to the normal.

Christo clearly denies any political intent but this monumental structure composed of oil barrels is a reminder of our, as Brett Bloom calls it, petro-subjectivity.

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