Galerie Enrico Navarra

Galerie Enrico Navarra

Charles Simonds, 1991 , Le Muy«Dwellings" , 1991, Le Muy8

Preface. Enrico NavarraForeword. Enrico NavarraNous avions evoque avec Charles Simonds leprojet d'un ouvrage sur son travail des 1990. Cette ideeavait germe, lorsqu' il avait passe pres de deux moisa realiser Ia sculpture con

«Dwelling .. , 1 g75, PS. 1, Long Island City, New York10

Le Monde dans le monde. Werner SpiesWorld Within World. Werner SpiesC'est au debut des annees soixante-dix que l'ona pu decouvrir le projet d'urbanisme a l'echelle du baca sable elabore par Charles Simonds. Ses Dwellings,minuscules habitations imaginaires pour une populationimaginaire, desertaient l'appartement de I' artiste. Et soudainl'on rencontrait ces constructions de terre crue enplein Manhattan, dans les anfractuosites des murs etsur les bords des fenetres. Charles Simonds avait tissece reseau tenu comme l'oiseau fait son nid. ll l'a exposesans protection aux dangers de l'environnement reel.Les lotissements minuscules deconcertaient ou enchantaientles passants. Difficile d'imaginer pire irrespectenvers Ia tradition officielle de I'Ecole de New York ouI' art des musees.Depuis, Ia frag ilite bien trop tentante des reuvres, le vandalismeet Ia negligence ont fait qu'il ne reste pas grandchosede ce que Simonds a realise au fil des ans et deses expeditions a SoHo, dans le Lower East Side, aParis, Berlin, Dublin, Venise, Shanghai ou Guilin. L'artistenous a livre un mirage d'inappartenance. Tres peu deses reuvres sont entrees dans des collections publiquesou privees. Depuis le debut. I' art de Simonds n'est pasdestine a etre possede, mais a faire naltre des souvenirsimpalpables. Son fonctionnement repose la-dessus.L'apparente insouciance de !'artiste a l'egard de sesreuvres ne fait que souligner leur message. Les lueursd'une realite passee, insaisissable, que Simonds fait miroiterdans Ia grande ville correspondent a Ia tristesseet au desarroi profonds de l'archeologue. II n'aurait paspu aller plus loin dans ce sens. D'une certaine fa9on, il.adepasse le modele archeologique. D'ailleurs, ses creationsn'ont laisse aucun vestige. Nous n'avons plus quedes photographies de ces villes et de leurs populations.Ce qui a motive Simonds, c'est Ia recherche d'un publicdifferent, mais aussi l'affrontement avec un milieu incapablede reagir devant ses reuvres autrement quepar Ia surprise ou par Ia consternation. Sa demarcherefletait alors certains schemas de comportement desannees soixante et soixante-dix visant a influer sur Iasociete par le biais de Ia distanciation et de Ia provocation.Lors d'un entretien avec Daniel Abadie, Simondsdeclarait a ce propos : «Ma maison etait remplie de lieuximaginaires et il m'a semble aussi simple de les recreerThe first view to be had of Charles Simonds'sandbox urban projects was in the early 1970s. HisDwellings, Lilliputian structures of unfired clay evokingthe lives and times of imagined peoples, left hisapartment and suddenly began to crop up in midtownManhattan, perched in wall niches or on window ledges.Simonds had built these fragile, private webs like birdsbuild their nests, and now they were exposed to thedangers of the real world. Passersby shrugged theirshoulders, or smiled, or felt an itch to destroy. An art thatshowed less respect for the official New York Schooland its galleries was hard to imagine.In the meantime, the provocative fragility of the pieces,vandalism and negligence have ensured that very little ofwhat Simonds produced during his expeditions in SoHoand the Lower East Side, in Paris, Berlin, Dublin, Venice,Shanghai or Guilin, has survived. The artist gave us amirage of non-possession. Only a handful of his pieceshave found their way into the marketplace or themuseum. Inadvertently, one should add, for Simonds'art was intended not to be coveted and hoarded, butto record diaphanous memory. This aim was crucial toits effect, and the artist's negligence with respect to hisown work only underscored the message of the project.The vision of a reality long past and buried whichSimonds brought for one shining moment into theoppressive reality of the big city was paralleled by itsdemonstration of the tristesse and ultimate hopelessnessof archaeology. In a sense, the parallel even transcendedthe archaeological paradigm, because, apartfrom the occasional photographic record, not a relic ofthe artist's cities and peoples remained.Simonds was impelled as much by a search for analternative public for art, as by the confrontation withan environment which could not help but react withsurprise or dismay to his work. His approach reflectedcertain behavioral patterns of the 1960s and 19 70s,which were motivated by an attempt to affect societythrough alienation and shock. In an interview withDaniel Abadie, Simonds commented in retrospect. "Myhouse was filled with imaginary rooms, and it seemedquite normal to recreate them outdoors, where morepeople could see them. The street was exciting and full11

dehors, ou plus de gens pouvaient les voir. La rue etaitexcitante et pleine d'aventures. Les Little People furentsi bien accueillis qu'ils y resterent et s'y multiplierent.»L'artiste a regarde evoluer l'environnement ou commengaienta s'integrer ses habitations miniatures : «Progressivement,mon role a change. Au debut, je n'etais qu'uncingle pour les gens du Lower East Side, sans identiteen tant que personne. J'etais une attraction, un vagabondanonyme qui faisait des choses chimeriques. "II est bient6t devenu evident qu'une ceuvre de cet ordre,alliant un vocabulaire plastique meticuleux a un certainmode d 'intervention, n'avait rien de sterile. Les miniconstructionspossedaient une richesse esthetique indeniable,et se pretaient a des interpretations multiples.Les Dwellings jouaient sur l'effet de contraste avec l'environnement.Les minuscules colonies chimeriques abandonneesdetonnaient dans Ia megalopole grouillante :Ia vulnerabilite opposee a une puissance massive. Cetaspect s'est affrme plus nettement dans certains projetsulterieurs, a commencer par le beau Three Trees deBale, ou trois arbres transpercent de bas en haut !'architecturede verre. On en trouve une autre expressionspectaculaire dans le monumental Age: !'artiste a placeune montagne au beau milieu du musee Guggenheim,en contrepoint a Ia concavite de cet espace en formede coquille geante. II faudrait citer encore son installationdans un tunnel ferroviaire pres de Ia Gorge du Niagaraau Lewiston Art Park de I'Etat de New York.Chaque fois, Charles Simonds agit sur un lieu donne,tout autant que le font des «land artistes» comme RichardLong, Dennis Oppenheim, Robert Smithson ou MichaelHeizer. Ses Dwellings s'inscrivent dans un contexte bienprecis : il ne s'agit pas de fouilles archeologiques, dePompei, du Yucatan ou de Ia mesa americaine, mais deIa grande ville moderne, ou Ia notion du temps s'amplifietandis que toute sensation de l'ephemere s'effacederriere I' agitation febrile de I' existence.Le fait de sortir de l'appartement pour aller dans Ia ruepourrait etre un signe de spontaneite. Pourtant, d'unpoint de vue historique, Ia demarche de Simonds sembleparticiper d'un systeme de temporalite totalement artificielqui a autorise les chasseurs de reliques et faiseurs demythologies a dresser leurs mondes paralleles contre lepragmatisme de l'epoque contemporaine et sa foi dans«Dwelling .. , passage Julien Lacroix, Paris, 197612

of adventures. The Little People were accepted sowarmly that they stayed there and multiplied. "Simonds studied the behavior of the environment thatbegan to involve itself with this sandbox creation: "Myrole gradually changed. At first, I was only a crazyfellow without identity for the people of the LowerEast Side. I was an attraction, an anonymous vagabondwho made chimerical things. "It very rapidly became apparent that work of this type,which combined aesthetic finesse with direct intervention,had nothing autistic about it. The formal richnessof Simonds' miniature structures was obvious, and itsuggested a multiplicity of interpretations. The effectof the Dwellings relied strongly on a contrast with thesetting in which they were shown. The tiny, abandoneddream settlements clashed with the overcrowded,vertical megalopolis, and astonishingly, their vulnerabilitycalled its massed dynamism in question. This characteristicfeature came out even more clearly in certainlater projects, like the compelling Basel piece in whichThree Trees pierced the glass box of the museum architecturefrom bottom to top. Another spectacular formulationwas found in Age, where Simonds placed a greatmountain in the middle of the Guggenheim Museumfoyer to oppose its shell-like convexity. A third case inpoint is the work installed in a railroad tunnel nearNiagara Gorge, in Lewiston Art Park, State of New York.·~, .. J, ;.;:.. i--'- ......As such examples illustrate, Simonds' art relates just asmuch to site construction as to do the approaches ofRichard Long, Dennis Oppenheim, Robert Smithson, orMichael Heizer. His Dwellings function within a preciselydefined, specific context. And this context, rather thanbeing that of archaeological grave-excavation, Pompeiior Yucatan or the mesas, is that of the modern metropoliswith its acute sense of time, in which every notionof transience is obviated by the hectic business of living.Simonds' emergence from the private sphere to thepublic street may have spoken for spontaneity. Yet historically,his approach can be seen to partake of the artificialtime systems thanks to which the relic-gatherersand mythologists in recent art have been able to settheir parallel worlds in opposition to the pragmatismand belief in progress of contemporary age. Such auto-«Age", Solomon R. Guggenheim Museum, New York, 198313

le progres. Des microsystemes autoreferentiels de cegenre, on en a vu apparaltre partout dans le domaine del'art conceptuel ace moment-la. Globalement, ils releventd'un rationalisme post-duchampien dont le modele seraitpeut-etre fourni par Trois Stoppages-eta/on, ces formesaleatoires accompagnees d'un instrument de mesure,ces fruits du hasard isoles, maintenus a l'ecart de leurpropre contingence.Parmi tous les documents relatifs au travail de CharlesSimonds, il en est deux qui me semblent particulierementeclairants. Le premier est un photogramme extraitde Birth, un film de trois minutes qui no us ramene audebut de sa carriere.demiurge jouant avec l'univers sur son ventre. D'autresceuvres renvoient a Ia fertilite de Ia terre, a Ceres ou auxdieux-fleuves de l'antiquite. Parfois, !'artiste va jusqu'asemer des graines. La semence germe et se transmueen pourvoyeuse de nourriture.L'erotisation des formes et des gestes, l'emprise libidineusesur l'environnement vehiculent un message evident.La, I' expression spontanee se double d'une prisede position culturelle. Le langage corpore! rudimentaireenregistre dans Birth ne traduit pas seulement le desirde s'identifier avec un paradis maternel. II signale unlien avec l'expressionnisme abstrait. Les gestes intuitifssont censes montrer ou mettre !'artiste dans un etat ou ilExtraits du film I Extracts from the film «Birth», 1970Simonds a tourne ce court -metrage en 1970 avec unecamera fixe, dans une glaisiere du New Jersey. L'etrangeliturgie enregistree dans Birth pose les fondements detoute l'ceuvre ulterieure de !'artiste. Loin de se limitera proposer une autre variante du body-art ou des techniquesd'auto-exploration si courantes a l'epoque, lefilm donne Ia justification profonde de l'ceuvre. II reveleles premiers efforts de I' artiste pour penetrer physiquementdans l'univers de Ia representation. Nous assistonsa un rite du printemps, a I' evocation d'une renaissanceau sortir du magma originel. Ce rituel gestuel tient del'accomplissement du desir. Le corps s'immerge sansretenue dans Ia profusion universelle.II n'est peut-etre pas inutile de rappeler ici que Ia terminologiefreudienne a joue un role considerable et redoutabledans l'enfance et !'adolescence de Simonds.II y fait allusion au cours de son entretien avec DanielAbadie : " Les Little People ont leur origine dans mesfugues d'enfant pour echapper a mes parents, a moneducation, celle d'un fils de psychanalystes de I'Ecolede Vienne." L'une des principales analogies avec Iatheorie de Freud reside bien evidemment dans l'archeologie,dans l'attirance pour Ia ruine, dans le travail derestitution axe sur Ia mise au jour des strates de souvenirsenfouis.La glaise d'ou Simonds surgit dans le film allait devenirpar Ia suite l'unique matiere premiere de son art. L'artistele souligne lui-meme : "Dans ma mythologie personnelle,je suis ne de Ia terre et une bonne partie de mes ceuvresvisent a rappeler ce fait, a le formuler aux autres eta moi-meme. LandscapeBodyDwelling est unemetamorphose du paysage en corps, du corps en paysage."Les freles Dwellings d'argile renvoient par consequenta des formes du corps humain, notamment Ia poitrineet le sexe de Ia femme. lis deviennent autant derefuges dans un corps-paysage feminin . " Les sculpturesde Simonds, note Diane Waldman, ont egalementun caractere organique, une forme et un contenu ero ­tiques. Sous ce rapport, son ceuvre fait penser a cellede Claes Oldenburg, dont l'idee d'erotiser l'environnementsemblait extremement novatrice dans les anneessoixante."Chez Simonds, le panerotisme sculptural se manifestedans diverses ceuvres, comme Number 9 (RitualGarden), Ground Bud ou Stone Sprout, ou le materiausemble aspire ou ingere. Dans une autre ceuvre ceremonielle,BodyEarth, un corps etendu se pressecontre le sol. Ce theme est repris et developpe dansLandscapeBodyDwelling, par exemple, ouSimonds projette une image de son monde en miniaturesur son corps entierement couvert de glaise, surfacevivante enduite du materiau de Ia nature, tel uns'affranchit des contraintes historiques pour permettrea des forces metaphysiques de s'exprimer a travers lui.De meme, les gestes impulsifs des expressionnistesabstraits etaient censes les liberer des presupposessociaux-historiques. En regardant les mouvementsdansants de Simonds dans le film Birth, Ia far,;on dont Iachoregraphie le fait emerger peu a peu de Ia boueargileuse, on songe machinalement a celui qui fut le premiera s'offrir en spectacle sur le meme mode solennel,Jackson Pollock. Hans Namuth a fixe sur Ia pelliculecette etrange gestuelle. Pollock, en proie a une sorte detranse rythmee, se laissait absorber par son tableau.La presence de Ia camera avait le don d'accelerer encoreIa cadence de ses mouvements. Birth s'apparente,par-dela Pollock et l'ecriture automatique des surrealistes,aux rites d'initiation de Ia periode romantique.Le deuxieme document eclairant que j'ai retenu produitune tout autre impression. C'est une photographie montrantIa tete et Ia main de !'artiste, une image de concen-14

eferential microsystems were in wide-spread evidencein the conceptual art of the day. Taken together, theybelong to a post-duchampian rationalism for whichDuchamp 's own Three Stoppages-etalon may haveprovided the model. Random shapes accompaniedby a measuring stick which serves to conserve andestablish a reference for these isolated products ofchance, rescued from contingency.From the abundance of visual records of Simonds'work, let me extract only two by way of characterization.First, there is a still from the three-minute film,Birth, which takes us back to the early years of hiscareer.with the fertility of the earth, with Ceres, or with rivergods of antiquity. In some of them, the artist even sowedseeds, which sprouted to form a symbolic source ofhuman nutrition.Simonds' erotization of forms and gestures, his libidinousappropriation of the environment, indeed conveya clear message. They are more than spontaneousexpressions, because they are overlain with a culturalgesture. There can be no doubt that the abrupt, openbody-language recorded in Birth conveys more thana mere wish to identify with a maternal paradise. Thestatement addresses the issue of Action Painting, orAbstract Expressionism. Its intuitive gestures are meantto the Freudian method, of course, is found in archaeology,its fascination by relics and ruins, its restorationwork aimed at bringing the strata of buried memoriesback to light.The clay from which Simonds emerges in the filmwas subsequently to become the sole prima materiaof his art. This is corroborated by many of the artist'sown statements: "In my own personal mythology I wasborn from the earth, and many of the things I do areaimed at refreshing and articulating that awarenessfor myself and others. LandscapeBodyDwellingis a process of transformation of land into body, bodyinto land ... " The finely articulated clay Dwellings accor-Simonds made the short film in 1970, with a fixed camera dingly allude to human forms, especially to breasts andset up in a New Jersey clay-pit. The strange liturgy capturedin Birth can be seen to form a basis for all of the body-landscape. As Diane Waldman has pointed out,vagina. They have the character of refuges in a femaleartist's work to come. Not just another variation of body "Simonds' sculptures are also organic in nature andart or the process of self-discovery so rampant at the erotic in form and content. In his respect his worktime, the film establishes the raison d'etre of the reuvre. recalls that of Claes Oldenburg, whose concept ofIt demonstrates the artist's initial, tentative attempts erotizing the environment was considered highlyto penetrate physically into the realm of his imagination. innovative in the 1960s."We are present at a rite of spring, an evocation of rebirth With Simonds, this panerotic sculptural approach camefrom the chthonic, primeval slime. This gesticulating ritual to the fore in a number of pieces such as Number 9has a great deal to do with wish-fulfilment, an uninhibitedimmersion of the body in the universal abundance. the material appears to be in the process of ingestion.(Ritual Garden), Ground Bud, or Stone Sprout, in whichIn another ceremonial work, BodyEarth, an extendedTo explain the work, it is important to note that Freudian body presses itself into the earth. This theme waspsychology and its terms played key, and threatening, developed in a series of further works. In Landscapepart in Simonds' boyhood and youth. In his conversa- BodyDwelling, Simonds covered his body with claytion with Abadie, he recalled that: "The Little People and projected an image of his miniature world ontohave their origin in my attempts as a child to escape my this living, breathing surface primed with the naturalparents, my education-that of a son of a psychoanalyst material-a Creator mundi toying with the universeof the Vienna school." And one of the closest analogies on his own body. Other works called up associationsto show the artist in a state, or to induce a state in him,in which he sheds historical constrictions to become amedium for universal metaphysical forces. Similarly, theimpulsive gestures of Action Painting were considered ameans of liberation from societal and historical preconditions.Looking at Simonds' dancing movementsin the film Birth, the way in which the choreographygradually draws him out of the mud, one is inadvertentlyreminded of the prototype of such pathos-filledself-representations, Jackson Pollock. In Hans Namuth 'sfamous films we see Pollock's strange gesticulations,the spasmic trance in which he ultimately lost himselfin the picture he was working on. The presence of thecamera apparently goaded him to ever more freneticrhythms and movements. Simonds' Birth can be tracedback through Pollock to the ecriture automatique ofthe Surrealists, and even to the initiation rites of theRomantic Era.The second eloquent photograph I have singled out15

«BodyEarth», film de I by David Troy, 1971tration extreme apres Ia scene dionysiaque, I' applicationlaborieuse apres Ia sortie de terre liberatrice. Simonds,muni d'une pince a epiler, construit un Dwelling avecdes briques crues mesurant a peine huit millimetres.Sur Ia photographie, Ia tete et Ia main paraissent gigantesques.Le cadrage les coupe de maniere a nous fairedecouvrir le monde miniature sur lequel le microchirurgiense penche avec beaucoup de precaution. Samethode de travail fait penser au montage des microprocesseurs,bien plus qu'a Ia concretisation d'un elanexpressif.De fait, a examiner de pres les reuvres de Simonds quel'on a pu conserver, ou les photographies des autres,on s'apen;:oit que ses constructions se caracterisent pardes plans tres compliques et des formes multiples. Ontrouve Ia des agencements circulaires, des pyramides,des portes monumentales, des tumulus, des labyrintheset jamais deux fois Ia meme configuration. Les formes,mais aussi les couleurs, passent par les modulations lesplus subtiles. II faut sans doute y voir une composantefondamentale du message de !'artiste, qui souligne Ianature unique, non reproductible, des choses du passe.(Une remarque a ce propos : lorsque Simonds a commence,dans les annees soixante-dix, a utiliser desformes architecturales dotees de connotations archeologiquespasseistes, il repondait ainsi a Ia croyanceencore intacte en Ia modernite de Ia ville. Aujourd'hui,ces reuvres nous apparaissent sous un jour different.L'architecture postmoderne a recupere bon nombre deleurs configurations, transposees en grandeur reelle.Dans le contexte du repertoire de formes postmodernes,les projets architecturaux de Simonds revetentune nouvelle dimension critique. lis ont l'air d'evoquerun present en ruine.)Les deux documents mettent face a face deux attitudescontraires : Ia spontaneite et le calcul. Or, elles determinentensemble l'reuvre de Charles Simonds. Commele fait craindre !'opposition hyperbolique entre petit etgrand, on risque fort de chercher eternellement une ported'entree dans les Dwellings. On dirait que Simonds tentede s'emparer de !'instrument necessaire pour forcer leverrou derriere lequel est enferme son univers chimeriqueen reduction. En vain. Le desir doit rester l'uniquemoyen d'acces a son monde imaginaire. Dans ces conditions,les villes fant6mes sont egalement desertees par16

•LandscapeBodyDwellin9", 1970Charles Simonds, 1 986conveys a quite different impression. It shows the artist'shead and hand, an image of extreme concentration followingupon one of Dionysian release, of painstaking laborfollowing upon a liberation from the earth. Simonds isbuilding one of his Dwellings out of eight-millimeter-longclay bricks, using a pair of tweezers. In the photograph,his head and hand seem gigantic. They are cropped toreveal a view of the tiny world over which the microsurgeoncarefully bends. The procedure shown here recallsthe assembly of computer chips in a lab more than theself-expression of an artist in his studio.And in fact, when we review Simonds' surviving worksor the photographs which are all that remains of them,his constructed world contains extremely complexground plans and a multiplicity of forms. Circular sites,pyramids, gates, tumuli, labyrinths are found, and noconfiguration repeats itself. And not only the shapes buttheir coloring passes through the finest nuances. Thisfeature would seem an essential part of the artist's message,for it alludes to the unique and unrepeatablenature of past events. (One thing should be noted in thiscontext: In the 1970s, when Simonds began to employarchitectural forms with a clearly archaeological, anachronisticcharacter, he did so in view of what was stillan unbroken belief in the modernity of the city. Today,these pieces strike us differently. Many of their configurationshave since been appropriated by postmodernistarchitecture, and have actually been built. Seen againstthe background of the postmodern canon, Simonds'architectural concetti take on a new, critical connotation.We interpret them as an evocation of the presentday in ruins.)The two photographs illustrate two contrary behaviorsspontaneityand calculation. Yet it is precisely an interplaybetween the two that determines Simonds' reuvre.As the exaggerated contrast between large and smallsuggests, the search for a door into his Dwellings willlikely never end. And even if the door could be found,what tool could Simonds ever use to break the lockbehind which his smaller-than-life dreamworld lies? Thesearch is destined to be futile. The only entry into thisimaginary realm can be through wish and desire. Seenin this light, Simonds' abandoned ghost cities havebeen abandoned by reason as well, and elude pragmaticuse. What they present is something inaccessible,something beyond the grasp of experience. The Go/emwho emerged from the clay is incapable of enteringthe Little People's world. He stands confronted by anillusion; he remains locked out.This aporia lends our involvement with Simonds' worka dramatic aspect. Simonds plays on our unconsciousanxieties and hopes. He plays those games of perspectivewhich remain with us from childhood onwards,the furniture of our subconscious mind. Everyone isfamiliar with them from the world of fairy-tales and legends,from stories like The Bottle-Imp, Swift's Gulliver'sTravels, or Grandville's "Les grands et les petits" in UnAutre Monde. The perceptual rupture that lends the toyworld its fascination or demonic attraction is also partof the furniture of science fiction movies. As examples,suffice it to name Ernest Shoedsack's Dr. Cyclops (1940),in which a mad scientist reduces his neighbors to dollsize, or Richard Fleisher's Fantastique Voyage (1966),17

«LandscapeBodyDwelling», 197 4Ia raison et elles se derobent a tout usage pratique. Ellesrepresentent quelque chose d'inaccessible, qui depassele champ de Ia perception. Le golem sorti du magmaargileux ne peut pas penetrer dans le mini monde. II estdevant une illusion, et il n'a pas Ia cle.Cette aporie introduit une sorte de tension dramatiquedans notre rapport avec l'reuvre de Charles Simonds.L' artiste joue avec nos angoisses et nos esperancesinconscientes. Ses jeux sont des manipulations de Iaperspective qui nous accompagnent depuis notreenfance, qui habitent notre inconscient. Elles nous viennentdes contes et legendes, des Voyages de Gulliverde Swift ou de I' album de Grandville Un Autre Monde.Le decalage perceptuel qui fait le charme ou l'attrait diaboliquede l'univers des jouets est aussi un ingredientdu cinema de science-fiction. II suffira de citer Or Cyclopsd'Ernest Shoedsack (1940), ou un savant fou reduit sesvoisins a Ia taille des poupees, et Le Voyage fantastiquede Richard Fleisher (1966), ou Raquel Welch voyageavec Arthur Kennedy dans le cerveau d'un savant blessepour lui retirer un caillot.Charles Simonds se lance lui aussi dans un voyage fantastique.L'epithete diminutive appliquee aux occupantsinvisibles de ses villes et lotissements, les Little People,peut s'entendre a double sens. II ne signale pas seulementl'impossibilite de penetrer physiquement dans lepays imaginaire. La rupture d'echelle entre le spectateuret Ia representation introduit en outre un eloignementdans le temps. Le point central de Ia perspectivese situe dans un passe en ruine qui remonte a Ia nuitdes temps. D'ou un affrontement entre deux visionsdu monde et Ia creation d'un climat favorable a des scenariivisionnaires et romantiques. Nous ne savons riende bien concret sur Ia population imaginaire des Dwellingsminiatures de Charles Simonds. Les explicationsque nous donne !'artiste laissent libre cours a notreinvention : «Chaque Dwelling est une nouvelle scene deIa vie des Little People. lis ant des croyances particulieresqui fa

in which Raquel Welch accompanies Arthur Kennedyon a trip through the brain of an injured scientist in orderto remove a blood clot.Simonds, too, embarks on fantastic voyages. The diminutivethat applies to the invisible inhabitants of his citiesand settlements, the Little People, thus takes on an ambiguousquality. It not only indicates the impossibility ofphysically entering his imaginary land, the contrast inscale between viewer and image brings out a distancein terms of time as well. The focal point of the experienceof Simonds' art lies in an inaccessible, vanished erabefore the beginning of time. The resulting confrontationof different world views engenders a mood in whichvisionary or Romantic cosmogonies suggest themselves.We know hardly anything concrete about the imaginarypeople who live in Simonds' miniature Dwellings. Theexplanations he provides leave a lot to the imagination.For instance: "Each Dwelling is a different scene fromthe Little People's lives. They have particular beliefswhich form, or inform, that space. Some are religiousplaces; some are reinhabited ruins; some are just housesand settlements. " The most precise hints Simonds givesrefer to the fact that the Little People fall into threecategories, "those who live in a line, those who buildin a circle, and those who construct spirals. " Here, theirhaving lived is attested to by no more than certainpreferences for shapes or ornaments.So our knowledge about the abandoned DwellingsSimonds brings to the living city remains indeterminate.Nor does he himself provide an interpretation. Or rather,he provides rather coy little descriptions of the inhabitants,as when he tells Abadie that "an astonishinglyreal joy prevails in the quasi-infantile world of the LittlePeople. It is a peaceful world without constraint, and almostwithout thought." Presumably Simonds consciouslyintends to keep interpretations of his work open-ended,for his Dwellings are endlessly evocative. They send usoff on ethnographical expeditions, into Indian pueblosor ancient, ruined centers of civilization. They provokespeculation about strange, lost customs, and aboutall of the possible worlds ever envisioned by scientistsand poets in an attempt to break out of their mundanesurroundings.To take only one example, from our own period: HenriMichaux's Voyage en Grande Garabagne (1936)./n thistravel report the author spirits us into imaginary lands.He describes the odd customs and habits of a peoplecalled the Emanglons, who live in a state of continualpanic. Then he visits the Orbus, a slow and thoughtfultribe by comparison to the nervous Hivinizikis, who liveonly for the moment. But as in all books of this type,not only character traits but outlandish customs play akey role. In Michaux's lei, Poddema (1946), we read ofpeople who are raised in pots-legless slaves whosetorsos are immersed in a nutritive solution. They requireno legs because they do their work with their arms alone.In sum, it is not only the toy/ike character of Simonds'structures that exerts an attraction on the viewer. Eventhough their miniaturization calls the myths and preoccupationsof childhood to mind, the closest parallels areto be found in art history nonetheless. One of the mostobvious is that between the architectural forms Simondsrepeatedly employs and the anamorphoses of Mannerism-theBuilding of the Tower of Babel, the paintingsof Arcimboldo, Joos de Momper, or Hendrick van CleveIll, Maerten van Heemskerck's Depiction of the SevenWonders of the World, or the suffocating prisons ofPiranesi. Or one thinks of A!tdorfer's Alexanderschlacht,from which the figures seem to have been suddenlysucked up into a vacuum.Still, the mood of Simonds' work comes closest to definitionwhen it is compared to a world of imagery thatplays with the baffling-Romanticism and Surrealismprovide the real parameters. Take the fascination felt bythe Surrealists in face of the famous, visionary imagewith which Horace Walpole introduces his Castle ofOtranto: a gigantic, feathered helmet that falls out of thesky into the castle courtyard. Or Kafka 's "Building theChinese Wall", and the endless road the emperor's messengerhas to take before he reaches the reader. Otherparallels are found in Borges (The Library of Babylon) or inBeckett (Le Depeupleur). In every case, we are confrontedwith a perfect system that ends in the terror of the labyrinth.In these imaginative worlds, the bird's-eye-viewdominates, a viewpoint born of desperation which leavesno room for the individual.These are only a few of the many possible associationsto which Simonds' work gives rise. They indicate thateach individual viewer is challenged to find his or her. y,, 2001, 152,5 x 89 x 28 em, argile et platre I60 x 35 x 11 inches, clay and plaster19

possibles envisages par les savants et les poetes dansleur desir de s'evader du quotidien.Prenons Ia trilogie Ailleurs d'Henri Michaux, pour ne citerqu'un exemple contemporain. Le recit de Voyage enGrande Garabagne (1936) nous transporte dans descontrees imaginaires. L'auteur decrit les mceurs bizarresdes Emanglons en proie a une panique perpetuelle. Puisil nous emmene chez les Orbus, Ients et poses en comparaisondes Hivinizikis toujours presses, qui vivent dans!'instant present. Comme toujours dans ce genre delivre, les us et coutumes saugrenus sont aussi finementobserves que les traits de caractere. Dans lei, Poddema(1946), Henri Michaux nous parle de gens eleves enpots. Ce sont des esclaves sans jambes dont les torsesbaignent dans une solution nutritive. lis sont reduits al'etat d'hommes troncs parce qu'ils n'ont besoin que deleurs bras pour faire leur travail.Dans les constructions de Charles Simonds, il n'y a pasque l'aspect ludique qui seduise le spectateur. Leur miniaturisationa beau evoquer les mythes de l'enfance,c'est du cote de l'histoire de l'art que l'on trouve lesanalogies les plus tangibles. L'une des plus evidentesrelie les formes architecturales employees par Simondsaux anamorphoses manieristes, a Ia Tour de Babel, auxpeintures d'Arcimboldo, Joos de Momper ou Hendrik IllVan Cleve, a Ia Representation des sept merveillesdu monde de Maerten Van Heemskerck, aux prisonsetouffantes de Piranese ... Ou alors, on songe a uneBataille d'Aiexandre d'Aitdorfer dont les personnagesse seraient soudain volatilises.Cela dit, Ia comparaison avec le registre de l'etrangetedeconcertante donne une idee plus juste de Ia tonalitedes ceuvres de Simonds. Romantisme et surrealisme,voila les vrais parametres. Rappelons-nous l'attirancefascinee des surrealistes pour une image visionnaireprimordiale introduite par Horace Walpole dans LeChateau d'Otrante : le gigantesque casque a plumesqui tombe du ciel pour atterrir dans Ia cour du chateau.Ou La Murail/e de Chine de Franz Kafka, et Ia routeinterminable que le messager de l'empereur doit parcouriravant d'atteindre le lecteur. On pourrait citeraussi Jorge Luis Borges (La Bibliotheque de Babel)et Samuel Beckett (Le Oepeupleur). Chaque fois , nousavons affaire a un systeme parfaitement huile quidebouche sur l'epouvante du labyrinthe. Dans cesunivers imaginaires, c'est Ia perspective a vol d'oiseauqui domine. Elle correspond a une vision desesperee,qui ne laisse aucune place a l'individu.Ce ne sont Ia que quelques-uns des nombreux rapprochementspossibles avec l'ceuvre de Charles Simonds.A chacun de se glisser a sa fac;:on dans les villes et lesepoques disparues de Simonds. A chacun de franchirce pas, seul avec lui-meme. Pour rna part, j'avoue unepreference pour une certaine approche de son ceuvre.Elle Ia relie a La Coupe de Titan de Thomas Cole (1833,The Metropolitan Museum, New York) eta La Ville entii!Jrede Max Ernst, qui temoignent de l'etat du monde avantou apres l'homme, et, par dela, au Henri d'Ofterdingende Novalis, ou un ange emporte le narrateur dans un veritablevol d'oiseau. L'enfant-ange «nous fit voler si hautque Ia terre ressemblait a une coupe doree ornee deciselures infiniment delicates."Cette vision d'une coupe doree, lieu commun du «mondedans le monde•• que l'on retrouve dans La Coupe deTitan onirique de Thomas Cole, designe l'ephemere, ennous invitant a relativiser !'importance de l'histoire del'humanite et de ses reussites. Elle signale une realitefugace dans un univers infini. Car, sur les bords de Iacoupe, il y a des villes et des temples. Des que le titan Iaportera a ses levres, Ia civilisation inconnue qui habiteIa sera prise de panique. L'instant d'apres, elle aura disparu.Ce que nous ressentons devant cette image tresforte nous ramene aux freles evocations de l'ephemereque Simonds nous offre avec chacune de ses villes. Lesconstructions de I' artiste font partie des epiphanies del'art, regies par les seuls principes de surprise et d'indeterminisme.Elles revelent une profonde inquietude,ou les questions existentielles prennent le pas sur toutce que les occupants imaginaires des Dwellings pourraientbien avoir fait ou pense. W. S.Traduit de I' allemand par Jeanne Bouniort20

•Picaresque Landscape•, 1976, installation I installation, MoMA, New York. Collection Musee national d'Art moderne, Centre Georges Pompidou, Parisown way to live with these lost places and times. Each This vision of the golden bowl, "a world within world, "of us must enter into the state of abandonment alone. found again in Thomas Cole's dreamlike Giant's Chalice,In my own case, a favorite vision comes to mind. It links stands for transience and for a qualification of the importheartist by way of Thomas Cole's The Giant's Chalice tance of human history and achievement. It represents(1833, The Metropolitan Museum, New York) and Max a fleeting world in an infinite universe. For perched onErnst's La Ville Entiere, a vision of a world before the the rim of the chalice are cities and temples. As soonadvent of man or after his demise with Nova/is's "Heinrich as the giant raises it to his lips, this unknown civilizationvon Ofterdingen," in which an angel spirits the narrator will be gripped by panic, and a moment later will haveinto the sky, where he sees the earth from a bird's-eyeview.The child-angel "flew with us so high that the earth image leads us to the fragile evocations of transienceceased to be. What we feel in view of this puissantmerely looked like a golden bowl, ornamented with the which Simonds attempts with every new city he founds.most delicate chasing."They belong to the epiphanies in art, directed onlyby surprise and no-causality. They reveal a profoundexistential concern, in which the question of existencetakes priority to anything the imaginary inhabitants ofSimonds' Dwellings may have done or believed. W. S.Translated from German by John William Gabriel21

Je me souviens... Jean-Louis Prat«Dwelling .. , detail I detail, rue des Cascades, Paris, 1975Je me souviens de Ia decouverte de l'ceuvre deCharles Simonds a New York - surpris et emerveillepar cet univers a !'inverse de celui jusqu 'alors proposepar l'art d'aujourd'hui- qui semblait prendre naissancedans les reves de civilisations englouties. Je me souviensde I' argile, materiau fragile et sensuel, qui eveillaitles souvenirs, les jeux, le modelage, le charme et lesilence d'autres lieux enfouis dans Ia memoire. Je mesouviens d'avoir eprouve le sentiment intense de possessionprocure par cette ceuvre nouvelle et sculptee,jouet parfait que voudrait real iser tout enfant, qui saitpourtant, intuitivement, que cet univers inventif ne peutetre propose que par l'adulte, createur.Je me souviens encore de l' irreelle presence de Iasculpture congue par Charles Simonds pour le WhitneyMuseum, ceuvre inaccessible nichee pour l'eternitedans un escalier, dans ce batiment ample et cubique,symbole de Ia culture americaine et edifie par MarcelBreuer. Je me souviens de ce sentiment de quietudequi jaillit de cette ceuvre- l'infiniment petit s'inserantdans l'infiniment grand- ou les souvenirs a decryptersurgissent de ce monde fragile et malleable congu pourun monde apparemment immuable.J'ai le souvenir vivace de cet espace nouveau, de cettesculpture incongrue, deja emblematique, qui interrogeet donne a Ia fois tant de reponses. Mais «Ia reponseest le malheur de Ia question», comme l'ecrit MauriceBlanchot. Dans ce cas precis, assurement, le mystereest apprivoise par cet univers mythique, etrange etheureux, et puise sa force dans le monde difficile, cruelet irreel de cette ville majestueuse, belle et intolerable aIa fois, vivante et brutale, solidement implantee dans legranit de Manhattan, ou le beton s'allie au bronze, sansjamais songer a des materiaux faits pour Ia main del'homme. Dans cette ville ou nulle place n'est laissee aIa liberte de Ia terre et au soin que tout etre doit lui apporter,seule Ia construction d'un monde d'airain semblepouvoir repondre a Ia provocation de Ia vie, a sa fragileconscience.confronter, poetiquement, au gigantisme de Ia realite.Sans le moindre conflit, ces deux mondes cohabitent etse completent. L'esprit entreprend des fouilles et revelece qu'il ne faut fondamentalement pas oublier. Le createurlui donne l'espace et Ia forme, le materiau antique etpourtant novateur se surprend, par Ia force du souvenir,a faire acte de sculpture. De cette ceuvre labyrinthiquedont Ia mise en scene distinctive reconstitue Iatopographie enterree et apparente de forteresses envoie d'edification, ou de perdition, l'homme semble absent,mais son ame en aucun cas n'a disparu; il paraltseulement avoir delaisse pour un temps ce chantier,avoir abandonne ce lieu, pour se consacrer a un autre,plus prolifique. Des espaces silencieux surgissent destenebres, emergent de leurs racines, et le concepteurfait toujours corps avec Ia terre dont il est issu. Cetteterre, providentielle et feconde, reproduit desormais Iavie de ces ruines depeuplees pour donner naissance,au travers des souvenirs, a l'esprit et sa suggestiverepresentation.Au seuil d'une aube nouvelle, Charles Simonds nousentralne, avec une terre eperdument recherchee, areconsiderer le temps et lui donner, en le redecomposant,une nouvelle tension et substance, pour lui attribuerune realite maintenant definissable, mais toujoursinsaisissable. Celle-ci envahit ainsi, par une autre dimensionet par une autre representation , une sculpture forteet differenciee. J.-L. P.Mais les symboles, les souvenirs, les etres, temoignentd'un univers plus docile et l'infiniment petit atteste dureve enfin apprivoise qui peut des lors, et sans crainte, se22

I Remember... Jean-Louis PratI remember discovering Charles Simonds' workin New York, surprised and filled with wonder by thisuniverse seemingly born on the banks of a drownedcivilization, unlike what had been offered by contemporaryart up until that point. I remember the clay, a fragileand sensual material, which aroused memories, games,modeling, the charm and silence of other spaces buriedin memory. I remember gaining an intense feeling ofpossession from this new, sculpted work, the perfecttoy that every child would like to make, while knowingthat this inventive world could only be offered up byan adult.I remember this new space, this incongruous and emblematicsculpture, which poses questions and providesmany responses at the same time. Yet, as MauriceBlanchot has written, the "response is the question'smisfortune. " In this case, mystery is tamed by the mythic,strange, and happy universe, and draws its strengthin a cruel and difficult world of this majestic city, at oncebeautiful and intolerable, living and brutal, solidlyimplanted in Manhattan's granite, where cementunites with bronze. In this city, where there is no placeleft free for the earth and its care, only the buildingof a bronze world might respond to life's challenge,its fragile conscience. But the symbols, souvenirs, andbeings, bear witness to a more docile world, and theinfinitely small attests to the finally tamed dream thatcan at last poetically confront reality's enormity withoutfear. Without the least bit of conflict these two worldscohabit and complement each other. The mind tacklesthe excavation sites and reveals what must absolutelynot be forgotten. The creator gives it space and form,the new and antique materials find themselves, by theforce of memory, in the act of sculpture. In this labyrinthinework, whose distinctive mise en scene reconstructsthe buried and visible topography of fortressesin the course of being built or in perdition, man seemsabsent, but in no case has his soul disappeared; itseems he has only left this building site for a shorttime, in order to tend to another, more prolific one. It isnot long before those who created these silent spacessurge up from the shadows, they emerge from theirroots, but they always form one body with the earthfrom which they arise. Henceforth, this providentialand fecund earth reproduces the life of these depopulatedruins, giving birth, through memory, to spirit,to its suggestive representation.I still remember the unreal presence of the inaccessiblesculpture Charles Simonds made for the WhitneyMuseum, tucked for eternity in the corner of an ample,cubic, stairway, in Marcel Brauer's symbol of Americanculture. The feeling of calmness, where the infinitelysmall inserts itself into the infinitely large, where memoriesto decipher surge up in the malleable worldconceived for an apparently immutable world.At the threshold of a new dawn, Charles Simonds,brings us toward a long sought after world, bringsus to reconsider time, to give it, by re-decomposingit, a new tension and substance, a newly definable,but always fugitive reality. It invades, through anotherdimension and through another representation, a strongand differentiated sculpture. J.-L. P.23

Ritual Place, 1970 Ritual Place, 1970Argile et boisClay and wood25,5 x 54,5 x 49 em 10 x 21 112 x 19 113 inchesCollection John Czerkowicz, New York Collection John Czerkowicz, New York26

Ritual Place, 1970Argile et bois13 x 29 x 29 emCollection Holly Solomon, New YorkRitual Place, 7970Clay and wood5 1/s x 77 2/s x 7 7 2/s inchesCollection Holly Solomon, New York27

Three People. Charles SimondsExtraits I Extracts. Samanedizioni, Genoa, 1975Leurs demeures formaientle temps, plus ce sentiment s'attenuait,de demeures neuves et anciennes seaux nombreuses entrees. Le passe etaitune rue/ maison cheminant sur terresa specificite se perdait en d'autrescreaient, donnant naissance a d 'etrangesa Ia fois tentation et menace, generateuren direction du futur, loin du passe.moments. Le temps devenait une chosevi lles qui juxtaposaient les maisonsde demences, cause d 'interminablesQuand X,. demenageaient,continue. Le sable s'amoncelait dansaux ruines, les jardins aux paresruminations et de confusions, un mondeils laissaient tout derriere eux, intactles coins et les charpentes s'ecroulaientet decouvraient aux yeux de toutesmysterieux, qui pouvait commencercomme un musee personnel.jusqu'a ce que Ia terre reprenneles histoires personnelles. Lesjoyeusement dans le present par uneLes demeures se succedant, les tracespossession de !'architecture. Une traceintermariages etaient frequents enpromenade de l'apres-midi, pour aboutird'une histoire individuelle seseule, un renflement rappelaitces points de rencontre, on faisaita un miasme terrifiant, a une geographiefaisaient de moins en moins precises.que quelqu'un etait passe ici autrefois,echange de traditions et de passes etgenealogique qui disparaissaitRetourner en arriere faisait le meme effeten route pour ailleurs. [ ... ]les lignees se melangeaient. [ .. . ]derriere Ia colline, s'enfongait dans Iaqu'entrer dans une piece que sesLes chemins pouvaient se couperPour, le passe formait un formidableterre, au-dela de !'horizon. C. 5.occupants viendraient de quitter par uneou se fr61er, chaque demeure conservaitreseau au long duquel leurs viesautre porte. Plus on remontait dansson autonomie. Des reseaux densescheminaient, ou bien une sombre foretTheir dwellings formed aThe farther the distance in time,autonomy. Webs and thickets of old andThe past was a temptation and a threat,road/house wandering over the earth onthe more this immediacy blurred; itsnew dwellings emerged creating strangethe begettor of il'lsanities, the causeits way towards the future and awaydistinctness dissolved into othercities that combined houses with ruins,of endless ruminations and confusionsfrom the past. Whenmoved frommoments. Time became continuous.gardens with parks that exposed-a mysterious world that mightone dwelling to the next, they leftSand collected in the cornerspersonal histories to everyone's view.begin happly in the present on aneverything behind untouched as aand roof beams fell in, until the earthIntermarriage was common when theseafternoon stroll, but which stretchedmuseum of personal effects. Asreclaimed the architecture. Onlyjoinings occurred; traditions and pastsbackwards into a terrifying miasma,dwelling followed dwelling, traces of aa trace, an irregularity recalled thatwere traded and lineages mixed. [. .. }a genealogical geography thatdiminishingly distinct personal historysomeone had once passed here onFor most of thethe past formed adisappeared over the hill and into theremained. Traveling backwards wasthe way to somewhere else. [. .. }tremendous net on which their livesearth, beyond the horizon. C. S.almost like stumbling into a room whosePaths might intersect or pass near onetraveled; or it was like a dark forest intoinhabitants had just left by another door.another, but each dwelling retained itswhich there were many paths.28

Labyrinth, 1972Argile et bois30x63x63cmCollection particuliere, New YorkLabyrinth, 1972Clay and wood11 4/s x 24 4/s x 24 4/s inchesPrivate collection, New York29

Three People. Charles SimondsExtraits I Extracts. Samanedizioni , Genoa, 1975[ ... ]La vie 0 comportait deuxet de croissance en un seul rituel autemporelle rejouait Ia creation originelleQuelques objets retrouves etaientaspects : le premier etait de determinersolstice d'hiver. Le premier aspectdans une celebration etourdissantegardes et reutilises. D'autres, evoquantet marquer le temps, ce qui playait leshistoriographique dominait Ia tachedes possibilites sexuelles. [ ... ]des souvenirs, etaient conservesevenements dans l'espace et l'histoirequotidienne de reconstructionLa construction de Ia nouvelle demeurecomme des objets de collection ouet fondait le passe et le presentdes nouvelles demeures a partir desprenait un an et suivait un calendrierfetiches. On tissait des histoirespour permettre a Ia fois Ia creation desanciennes. Cet effort consistait enprecis, de telle sorte qu'elle progressaitet des souvenirs autour de ce mementohistoires et des sagas et celle desdemeures qui changeaient suivant lesune recapitulation et une refonte dessouvenirs personnels en mytheavec les saisons. Le criblageet le tri perpetuel des debris formaientet le passe etait reconstitue dans0 esprit tout com me lessaisons. Le second etait Ia concentrationet histoire. Le deuxieme aspect rituelune sorte d'ouroboros dansvieilles briques reconstituaient Iaannuelle des forces de naissancequi mettait de cote toute activitelequel le present devorait le passe.nouvelle habitation.[ ... ] C. S.[...] 0 lives had two aspects:ritual at the winter solstice. The firstcreation in a dizzying celebration ofwere collected and reused; some werethe first was the daily sorting outhistorographical aspect governed thesexual possibility. [. .. ]reminisced over and became artifactsand keeping of time that placed eventsdaily task of reconstructing theThe construction of the new dwellingor keepsakes. Stories and memoriesin space and history, merging pastnew dwelling from the remains of thetook a year and followed a precisewere woven around these mementosand present to make both histories andongoing sagas as well as dwellingsold. This effort was a recapitulationand re-working of personal memoriesschedule so that the building progressedwith the seasons. The continual siftingand the past was reconstituted in0 minds just as the old bricks werethat changed according to the seasons;into myth and history. The secondand sorting of the rubble formed a sortfitted into the new dwelling.[ .. . ] C. S.the second was the yearly concentrationritual aspect, eschewing all temporalof uroborus in which the present devouredof birth and growth energy into oneactivity, re-enacted originalthe past. Some things recoveredPyramid, 1972 Pyramid, 19 72Argile et bois40 x 51 x 63 emCollection particuliere, New YorkClay and wood15 3/4 x 20 x 24 4fs inchesPrivate collection, New York30

32Pyramid, detail I detail, 1972

Three People. Charles SimondsExtraits I Extracts. Samanedizioni, Genoa, 1975@) croyaient a un mondecelui ou leurs dernieres ressourcesils travaillaient joyeusement, forts duplus d'emploi devaient etre, selon Ia loi,entierement cree par leur volonte dansauraient ete consommees et ou Ia mortsentiment que les predictions desajoutes a Ia pile de detritus situeelequel les realites de Ia nature seraientserait inevitable. lis ne vivaient que pourmathematiciens etaient plus precises, lesdevant Ia maison. La propriete personnellede peu d'importance. Leurs demeuresce moment-la. Apres un effondrement,lieux d'habitations plus eleves, les viesetait interdite : pas d'objets deformaient une spirale ascendanteles survivants repartaient de zero etplus proches de l'apogee. lis croyaientcollection ni de fetiches , pas d'oeuvresdans laquelle le passe enseveli servait dedessinaient une spirale prodigieuse a Iafermement contribuer au monument led'art, pas de figures religieuses,materiau de construction au futur.surface de Ia terre. A sa peripherie, ilsplus ambitieux jamais congu par l'homme.pas de decorations qu'elles soientlis poursuivaient un jeu obsessionnelbatissaient une demeure. Les detritus delis etaient stimules par les badgespersonnelles ou collectives. Leur vieavec leurs ressources, le nombreIa vie qui s'accumulaient devant sonde merite et les honneurs decernes auxn'etait qu'une fonction d'abri etd'habitants, Ia hauteur de Ia structure.porche faisaient office de fondations a Iaequipes de travail. Les visiteursde hauteur a atteindre. Et quand onAu fur et a mesure que Ia structuredemeure suivante. Au fur et a mesuredes cites-spirales comparaient l'etat desatteignait les altitudes les plus eleveess'elevait, elle avalait les terres cultivables.que le temps passait , se formait unetravaux avec le leur et ce qu'ils avaientet qu'on avait besoin de moinsPlus elle avangait, mains sarampe dont le plan etait prevu de maniereaccompli les remplissait de fierte.en mains d'ouvriers, on en sacrifiait unconstruction necessitait d 'ouvriers.@) aspiraient a une mort extatique.Pour eux, il s'agissait a Ia fois d'allera leur permettre d'atteindre le pointle plus eleve au centre de Ia spirale. [ .. ]@) etaient pour Ia plupart optimistesLe monument devorait implacablementtaus les biens materiels. La proprieten'avait pas d'importance quegrand nombre qui se precipitaient deleur propre gre de l'avant de Ia structuredans le puit central, contribuant ainsiaussi haut que possible et de predire lemoment exacte de l'effondrement,et bien que Ia construction necessitatun dur labeur et des sacrifices,dans Ia mesure ou elle concernait Iaconstruction. Les objets qui n'avaientpar Ia masse de leur corps a I' effort debatir encore plus haut. [ ... ] c. s.Abandoned Observat ory, 1975 Abandoned Observatory, 1975Justice, 1981 Justice, 1981Argile et bois25 x 76 x 76 emMusee national d'Art moderne,Centre Georges Pompidou, ParisClay and wood9 5/6 x 29 11112 x 29 11112 inchesMusee national d'Art moderne,Centre Georges Pompidou, ParisArgile, bois et osClay, wood and bones24 x 76 x 76 em 9 2/s x 29 11112 x 29 11112 inchesCollection Harold R. Handler Collection Harold R. Handler34

elieved in a world entirelywould be consumed and their deathThey believed resolutely that theylife was merely a function of shelter andcreated by their own wills, in whichinevitable. They lived for that momentwere contributing to the most ambitiousheight. As the highest elevations werenature's realities were of little concern.alone. After a collapse survivors wouldmonument ever conceived by man.reached, and fewer and fewer laborersTheir dwelling formed an ascendingbegin a new, tracing out the tremendousTheir assurance was confirmed bywere needed to continue, large groupsspiral-with the past, constantly buried,spiral on the earth's surface. At thebadges of merit and honors given to thewere sacrificed, jumping voluntarily fromserving as a building material for theperiphery they built a house. The detritusvarious work forces. Visitors from thethe forward edge of the structure in thefuture. They obsessively gambled withof life gradually deposited in front of itspiral-cities compared progress withcentral well giving their bodies to the tasktheir resources, the number ofproviding the base for the next dwelling.their own and were filled with immenseof pushing the edifice higher. [. .. } C. S.inhabitants, the height of the structure.As time passed a ramp was thrown up,pride at their accomplishments.As the dwelling grew higher, it buried thethe rate of incline planned to bringThe monument relentlessly consumed allcultivatable land. As it grew, lessthem to the highest possible point at thematerial goods. Property had importanceand less workers were needed for itscenter of spiral. [. .. }only as it related to the construction.construction.were for the most part optimistic.Objects no longer useful were by lawaspired towards an ecstatic death.Although the construction required hardcontributed to the pile of debris at the frontTheir goal was to achieve both thework and sacrifice, they labored happilyof the dwelling. No personal possessionsgreatest poss1ble height and to predictknowing that the mathematician'swere allowed, no artifacts or keepsakes,the very moment of collapse, thepredictions were finer, their dwellingno objects of art, no religious figures,moment when the last of their resourcesplace higher, their lives nearer the climax.no personal or communal decoration;Ritual Garden no 9, 1978 Ritual Garden No. 9, 1978Argile et bois10 x 76,2 x 76,2 emCollection Eileen Rosenau, Bryn Mawr,PennsylvanieClay and wood3 11112 x 30 x 30 inchesCollection Eileen Rosenau, Bryn Mawr,Pennsylvania35

Ritual Tower no 10, 1978Argile et bois24 x 76,2 x 76,2 emCollection particuliere, ParisRitual Tower No. 10, 1978Clay and wood9 2/s x 30 x 30 inchesPrivate collection, Paris36

Circles and Towers Growingno11, 1978Argile et bois30,5 x 76,2 x 76,2 emCollection particuliere, New YorkCircles and Towers GrowingNo. 11, 1978Clay and wood12 x 30 x 30 inchesPrivate collection, New York37

38Ritual Tower no 10 I No. 10, detail I detail, 1978

Dwelling, details, 1981Argile et boisBriques : 1 ,27 em de longInstallation, Museum ofContemporary Art, ChicagoDwelling, details, 1981Clay and woodBricks: 112 inch longInstallation, Museum ofContemporary Art, Chicago40

42Dwelling, detail I detail, 1982, argile, bois et platre, 73 x 131 x 58 em, collection Foster Goldstrom I clay, wood and plaster, 28 3!• x 51 3/5 x 22 3/5 inches, collection Foster Goldstrom

Age, 1983Argile, platre et bois310 x 800 x 840 emThe Solomon R. Guggenheim Museum,New YorkAge, 1983Clay, plaster and wood122 x 315 x 330 3/4 inchesThe Solomon R. Guggenheim Museum,New York45

46Age, detail 1 detail, 1983

Flying Smear, 1983Argile, bois et platre76,2 x 68,6 x 45,7 emCollection particuliere, New YorkFlying Smear, 1983Clay, plaster and wood30 x 27 x 18 inchesPrivate collection, New York48

Smear no 1, 1984Argile et bois7,5 x 57,5 x 57,5 emCollection de !'artisteSmear No. 1, 1984Clay and wood3 x 22 2/J x 22 2/J inchesArtist's collection49

Wilted Towers, 1984Argile et bois30x60x60cmCollection particuliere, New YorkWilted Towers, 1984Clay and wood11 •15 x 23 213 x 23 213 inchesPrivate collection, New York50

Red Flow, 1984Argile et bois30 x 76 x 76 emCollection Frances Beatty Adleret Allen AdlerRed Flow, 7984Clay and wood11 •Is x 29 "112 x 29 "112 inchesCollection Frances Beatty Adlerand Allen Adler51

Rocks no 1 , 1984Rocks No. 1, 1984Tower, 1g34Tower, 1984Argile et bois20,5 x 48,3 x 48,3 emCollection particuliere, ParisClay and wood8 x 19 x 19 inchesPrivate collection, ParisArgile et bois53,5 x 76,2 x 76,2 emCollection particuliereClay and wood21 x 30 x 30 inchesPrivate collection54

Rocks no 1 , 1984Rocks No. 1, 1984Tower, 1g34Tower, 1984Argile et bois20,5 x 48,3 x 48,3 emCollection particuliere, ParisClay and wood8 x 19 x 19 inchesPrivate collection, ParisArgile et bois53,5 x 76,2 x 76,2 emCollection particuliereClay and wood21 x 30 x 30 inchesPrivate collection54

Stump, 1984Argile et bois35,5 x 61 x 61 emCollection particuliere, TexasStump, 1984Clay and wood14 x 24 x 24 inchesPrivate collection, Texas55

Pod no 1, 1984Argile et bois29,2 x 61 x 61 emCollection de I' artistePod No. 1, 1984Clay and wood11 112 x 24 x 24 inchesArtist's collection56

Pod no 2, 1984Argile et bois29,2 x 61 x 61 emCEuvre detruitePod No. 2, 1984Clay and wood11 112 x 24 x 24 inchesDestroyed57

Dwelling (double face), 1985Argile, platre et bois75 x 80 x 40 emCollection Richard EkstractDwelling (double side), 1985Clay, plaster and wood29 112 x 31 112 x 15 3/4 inchesCollection Richard Ekstract58

Leaves, 1986Argile et bois15x61 x61 emGalerie Lelong, ParisLeaves, 1986Clay and wood5 11112 x 24 x 24 inchesGalerie Lelong, Paris60

Rock Flower, 1986Argile et bois25,5 x 61 x 61 emHirshhorn Museum and SculptureGarden, Washington D.C.Rock Flower, 1986Clay and wood10 x 24 x 24 inchesHirshhorn Museum and SculptureGarden, Washington D.C.61

Smear, 1986Argile et bois15,2 x 76,2 x 76,2 emCollection particuliere, New YorkSmear, 1986Clay and wood6 x 30 x 30 inchesCollection particuliere, New York62

Smears, 1986Argile et bois15,2 x 76,2 x 76,2 emCollection Enrico NavarraSmears, 1986Clay and wood6 x 30 x 30 inchesCollection Enrico Navarra63

Rocks, 1988Rocks, 1988Spirit Rocks, 1989Spirit Rocks, 1989Argile et bois85x53x38cmCollection particuliere, ParisClay and wood33 112 x 20 4/s x 10 3/4 inchesPrivate collection, ParisArgile et bois102 x 92 x 41 emCollection Enrico NavarraClay and wood40 2h 2 x361/s x 16 2h 2 inchesCollection Enrico NavarraHere, Then, Now, There, 1989Here, Then, Now, There, 1989Argile, platre et bois80x120x43cmCollection de !'artisteClay, plaster and wood31 112 x 47 14 x 19 11112 inchesArtist's collection66

Head, 1991Argile, platre et bois98 x 65 x 23 emCollection de !'artisteHead, 1991Clay, plaster and wood38 3/s x 25 3/s x 9 inchesArtist's collection68

Pyramid, 1991Argile, platre et bois30,5 x 10 x 76,2 emCentro Cultural,Arte Contemporaneo, MexicoPyramid, 1991Clay, plaster and wood12 x 4 x 30 inchesCentro Cultural,Arte Contemporaneo, Mexico69

70-

Dwelling, 1991Argile et boisBriques : 1 ,27 em de longInstallation, Galerie Baudoin Lebon,ParisDwelling, 1991Clay and woodBricks: 112 inch longInstallation, Galerie Baudoin Lebon,Paris71

Singing Monkey, 1991Argile et ciment90 x 81 ,3 x 81 ,3 emCollection de !'artisteSinging Monkey, 1991Clay and cement35 213 x 32 x 32 inchesArtist's collection72

Head, 1993Argile, platre et bois67,5 x 90 x 75 emCollection particuliere, New JerseyHead, 1993Clay, plaster and wood26 112 x 35 2/s x 29 1/2 inchesPrivate collection, New Jersey73

Crucible, 1993PorcelaineDiametre : 20 emCree a Ia Manufacture nationalede Ceramiq\.Je, SevresCollection de !'artisteCrucible, 1993PorcelainDiameter: 7 ?fa inchesCreated at Manufacture nationalede Ceramique, SevresArtist's collection74

Tumbleweed, 1993Porcelaine20,5 x 20,5 x 30,5 emCree a Ia Manufacture nationalede Ceramique, SiMesCollection de !'artisteTumbleweed, 1993PorcelainBxBx 12inchesCreated at Manufacture nationalede Ceramique, SevresArtist's collection75

Sans titre, 1993Argile et platre152 x 20 x 20 em129.5 x 35 x 20 em110x31,5x20cmCollection de I' artisteUntitled, 7993Clay and plaster59 10112 x 7 10112 x 7 10112 inches50 4/s x 13 9/12 x 7 10112 inches43 1 /3 x 12 215 x 7 10112 inchesArtist's collection76

I, Thou, 1993Argile et ciment37,5x20x 120cmCollection de !'artisteI, Thou, 1993Clay and cement14 3/4 x 7 7/s x 47 114 inchesArtist's collection77

Head, 1991Argile et platre38 x 28 x 20,5 emCollection de !'artisteHead, 1991Clay and plaster15 x 11 x 8 inchesArtist's collection78

Man and Fish, 1993Argile et bois25 x 82,5 x 60 emCollection de !'artisteMan and Fish, 7993Clay and wood9 10112 x 32 112 x 23 3/s inchesArtist's collection79

Growth House. Charl es SimondsUn Dwelling, saisonnier etrenouvelable, fait de briques de terreavec des graines a l'interieur. Les grainesgerment, poussent et transforment Iastructure construite ; le Dwelling estconverti d'abri en nourriture, recolte puismange. c. s.A seasonally renewableDwelling made of earth bricks withseeds inside. As the seeds sprout,growth, transform the built structure;the Dwelling is converted fromshelter to food and is harvested andeaten. C. S.Growth House, 1975 Growth House, 1975Encre sur papier65 x 75 emCollection de !'artisteInk on paper25 3/s x 29 112 inchesArtist's collection80

82Growth House, detail I detail, 1994, installation, Fundacio Ia Caixa, Barcelone I Barcelona

Growing Towers, 1998 Growing Towers, 1998Argile et boisClay and wood48,3 x 76,6 x 76,6 em 19 x 29 x 29 inchesCourtesy Joseph Helman Gallery Courtesy Joseph Helman Gallery84

Maze, 1998 Maze, 1998Argile et boisClay and wood22,9 x 61 x 61 em 9 x 24 x 24 inchesCourtesy Joseph Helman Gallery Courtesy Joseph Helman GalleryFortresss, 1998Argile et bois28 x 59,7 x 59,7 emCollection particuliere, Cambridge,MassachusettsFortress, 1998Clay and wood11 x 23 112 x 23 112 inchesPrivate collection, Cambridge,Massachusetts85

Houseplant no 1, 1998Argile et platre76,2 x 89 x 63,5 emCollection de !'artisteHouseplant No. 1, 1998Clay and plaster30 x 35 x 25 inchesArtist's collection86

Houseplant no 2, 1998Houseplant No. 2, 1998Houseplant no 3, 1998Houseplant No. 3, 1998Argile et plfllre73,7 x 124,5 x 94 emCollection de !'artisteClay and plaster29 x 49 x 37 inchesArtist's collectionArgile et platre111 ,8 x 50 x 23 emCollection de !'artisteClay and plaster44 x 20 x 9 inchesArtist's collection87

88Wall Dwelling, 1999, argile, platre et bois, 76,2 x 86,5 x 106,7 em I clay, plaster and wood, 30 x 34 x 42 inches, collection HenryS. McNeil Jr, Philadelphie, Pennsylvanie I Philadelphia, Pennsylvania

Long Rocks, 2000Argile, platre et sable183x 145x81 emCollection de !'artisteLong Rocks, 2000Clay, plaster and sand72 x 57 x 32 inchesArtist's collection90

Dwelling, 2000Argile, platre et bois61 x 42 x 68,6 emCollection particuliere, MinneapolisDwelling, 2000Clay, plaster and wood24 x 16 112 x 27 inchesPrivate collection, Minneapolis91

Sans titre, 2001Argile. platre et technique mixte86,5 x 48,3 x 38 emCollection de I' artisteUntitled, 2001Clay, plaster and mixed media34 x 19 x 15 inchesArtist's collection92

Stretch, 2001Stretch, 2001Torn, 2001Torn, 2001Argile, platre et technique mixteClay, plaster and mixed mediaArgile, platre et technique mixteClay, plaster and mixed media45,7x66x71 emCollection de !'artiste18 x 26 x 28 inchesArtist's collection43,2 x 66 x 68,5 emCollection de !'artiste17 x 26x 27 inchesArtist's collection95

Charles Simonds, 1950 «Rabbit Reading Newspaper .. , 1952, .. wax .. , 1968, eire versee I poured wax «Relief .. , 1970, platre I plasterargile I clay1945 Charles Simonds voit le jour a New York. Enfant cadet, il est le fils de parents m8decins psychanalystes, tous deux formes a Vienne.Son pere suit les theories de Freud, tandis que sa mere, elle, refute le freudisme.1951 II fugue pour Ia premiere fois du foyer parentallors de vacances passees en famille a Santa Fe, au Nouveau-Mexique.II creuse un trou a Ia maniere indienne, d'ou s'echappent des volutes de fumee dans le canyon de Frijoles.1952 II realise Rabbit Reading Newspaper.1952-1963 II va a Ia New Lincoln School.1955 II passe l'hiver dans Ia station de skis de Lake Placid, dans I'Etat de New York. II se sauve a nouveau, creuse un troudans Ia neige dans lequel il se cache.1955-1961 II se rend en camp d'ete. II fait de l'alpinisme et participe a des courses de voilier.II devient le «46e membre,, du Club de Montagne d'Adirondack. II commence alors a croire en Oboe Skiwatindatin, le dieu du vent.II montre des aptitudes en mathematiques, etudie Ia logique symbolique, Ia theorie des nombres et les statistiques.1962 II realise Ia sculpture d'un catcheur. II abandonne les mathematiques pour s'adonner a l'etude de Ia sculpture religieuse traditionnelle,sous l'egide de Claire Fasano et de Jean de Marco.98

«Tarot Card•, 1970 «LandscapeBodyDwelling•, 1970 «LandscapeBodyDwelling .. , 1970 «BodyEarth•, 1971,images du film de I still fromthe film by David Troy1945 Born in New York. Youngest son of two Vienna-trained doctors and psychoanalysts.Father is a Freudian and mother is a renegade Freudian.1951 Runs away for the first time while on family vacation in Santa Fe, New Mexico. Makes "Indian fire pit" in Frijoles Canyon.1952 Makes Rabbit Reading Newspaper.1952-1963 Attends New Lincoln School.1955 Spends winter in Lake Placid, New York. Runs away, digs pit in snow and hides.1955-1961 Attends summer camp and partakes in mountain climbing and sailboat racing. Becomes Adirondack Mountain Club "46er."Commences belief in Oboe Skiwatindatin, god of the wind.Shows promise in mathematics, studies symbolic logic, number theory, and statistics.1962 Makes sculpture of a wrestler. Drops mathematics and begins study of traditional religious sculpture withClaire Fasano and Jean de Marco. Climbs in Front Range of Rocky Mountains in U. S. and Canada. Solidifies belief in Oboe.1963 Goes to Europe with best friend and chaperon. Runs away from chaperon in the middle of the second night.99

Greene Street Dwelling, New York, 1971 Atelier I studio, 28th Street, New York, 1971 «La Placita", 1972-75, park-playlet, Lower East Side, New YorkII effectue !'ascension de Ia fa

Travaillant I Working, Lower East Side on Dwellings, New York, 1 g72"Dwelling", East Houston Street, New York, 1g72"Dwelling• et passants I and passersby,East Houston Street, New York, 1972Travels alone to French Riviera, Rome, Florence, Venice, Vienna, Salzburg, lnnsbruck, and Zurich.1963-1967 Attends The University of California at Berkeley Meets and later marries Joanne Maude Oakes.Participates in Free Speech movement.Works as teamster on assembly line.Studies with James Melchert who showed that clay can be anything, even a zipperAlso studies with Harold Paris who made eroticized rubber sculpture.1967 Received Bachelor of Arts degree from The University of California, Berkeley1967-1969 Attends Rutgers University graduate school. Plays ping-pong, pours wax and water on the floor, and writes thesis of22 questions beginning with, "What is art ... ?" Receives Master of Fine Arts degree.1969-1971 Teaches Sculpture and Art History at Newark State College.Refurbishes a loft at 131 Chrystie Street with Gordon Matta-Ciark and Harriet Korman.Works on sculpture, Fragments of the Colossal Dream, using hair, bodily fluids, fantasy, and traditional art historical imagery.Works in the streets of New York and environs with Gordon Matta-Ciark helping each other with projects.Creates tarot cards, some of which develop from working in clay pits of Sayreville, New JerseyFilms Birth and LandscapeBodyDwelling. Meets Christo, Holly Solomon, and Jeffrey Lew.101

••Excavated and Inhabited Railroad Tunnel Remains", 1g74, Niagara Gorge, Art Park,Lewiston, New York«Growth House", detail I detail, 1g74, Art Park, Lewiston. New YorkII cree des cartes de tarot, puisant pour certaines son inspiration dans le travail realise au sein des mines d'argile de Sayreville, dansI'Etat du New Jersey. II filme Birth and LandscapeBodyDwelling.II fait Ia connaissance de Christo, Holly Solomon et Jeffrey Lew. II travaille au sein des lieux alternatifs situes aux numeros 98 et112 de Ia rue Greene Street en compagnie de George Trakis, Suzanne Harris, Keith Sonnier et Philip Glass.II debute Ia migration des habitations des Little People - les Dwellings - vers le nord, sur Ia rue Greene Street a New York. II voyage et serend a Stonehenge, Rome, Pompei, Herculanum et au Vesuve. II visite aussi Djerba, Mattmatta, Dugga, Sfax et Tozeur en Tunisie.Un vendredi apres-midi, il abandonne subitement l'enseignement. llloue une bicyclette de livraison pour transporter !'argile et commence acreer des Dwellings a temps complet dans les rues de New York, plus particulierement dans le quartier du Lower East Side.Joanne Maude Oakes et lui se separent ; il vend le logement situe au numero 131 de Ia rue Chrystie Street et emmenage dansIa 28e rue. II vit a Flower District, dans le quartier des fleuristes. II a pour voisins des groupes de rock installes en dessous et au-dessus de sonappartement, ces dits groupes etant diriges par son frere . II rencontre Lucy Lippard qui lui demande de lui faire decouvrir ses Dwellings.1972 II commence a vivre avec Lucy Lippard dans un logement situe sur Ia rue de Prince Street. A travers les yeux de Lucy il decouvreet observe !'evolution de l'univers artistique du feminismeII redige «Three Peoples, ethnographie fictive , et cree Life Architectures /Living Structures: Linear, Circular and Spiral Dwellings.II se lie d'amitie avec Sol Lewitt, Nancy Holt, Robert Smithson et fait montre d'antagonisme a l'egard de Carl Andre et de ses briques.Le temps d'une journee, a titre d'experience, il echange ses fonctions avec celles de Robert Fuller, President de !'Oberlin College .Durant l'ete, il fait de Ia voile et parcourt Ia cote du Maine en compagnie de Lucy Lippard.II realise des travaux collectifs au cmur du quartier de Lower East Side et devient membre du Conseil de Ia Coalition pour !'Habitat humain.102

«Dwelling», 1975, PS. 1, Long Island City, New York «Dwelling», 1975, passage Julien Lacroix, Paris Charles Simonds avec I with Josefa, rue des Cascades, Paris, 1975Works at 98 Greene Street and 112 Greene Street alternative spaces with George Trakis, Suzanne Harris, Keith Sonnier, and Philip Glass.Begins migration of Little People dwellings northwards on Greene Street in New York. Travels to Stonehenge, Rome, Pompeii, Herculaneum,and Vesuvius. Also travels to Djerba, Mattmatta, Dugga, Sfax, and Tozeur in Tunisia.Leaves teaching one Friday afternoon. Rents delivery bicycle to hold clay and begins making dwellings full time in streets ofNew York, concentrating on The Lower East Side. Separates from Joanne Maude Oakes.Sells 131 Chrystie Street and moves to 28th Street.Lives in the wholesale Flower District with rock bands above and below him, who were managed by his brother.Meets Lucy Lippard who asks for a tour of dwellings.1972 Begins living with Lucy Lippard on Prince Street. Watches the evolution of art-world feminism through Lucy's eyes.Writes "Three Peoples"; fictive ethnography and creates Life Architectures/Living Structures: Linear, Circular and Spiral Dwellings.Becomes friends with Sol Lewitt, Nancy Holt, Robert Smithson and feels antagonism of Carl Andre and his bricks.Exchanges professional roles for a day with President of Oberlin College, Robert Fuller, as an experiment.Summer: Sails up and down the coast of Maine with Lucy Lippard.Does community work on The Lower East Side and becomes member of the Board of the Coalition for Human Housing.Creates Play!ot "La P!acita" with Association of Community Service Centers and the Young New Yorkers.1974 Film of Dwellings by Rudy Burkhardt shown at the Museum of Modern Art, New York.Excavated and Inhabited Railroad Tunnel Remains constructed at Art Park, Lewiston, New York.103

Charles Simonds travaillant I working, passage Julien Lacroix, Paris, 1975 •Stanley Tankel Memorial Hanging Gardens", Breezy Point, New York, 1976II cree Ia petite piece de theatre «La Placita, (La Petite Place) avec !'Association des Centres de Services Communautaireset les Jeunes New-Yorkais.1974 Film de Dwellings par Rudy Burkhardt. presente au Musee d'Art Moderne, a New York. Excavated and Inhabited Railroad TunnelRemains, CBuvre erigee a Art Park, Lewiston, New York.1975 Growth House est construite a Art Park, Lewiston, New York. II est invite a prendre part a Ia Biennale de Whitney. II refused'emprisonner son CBuvre entre les quatre murs du Musee mais erige neanmoins une demeure dans Ia rue dont !'existence est signalee par unpanneau au sein du musee. II erie sa douleur lors de Ia mort de Smithson et depose des petits coqui llages en forme de spirales dans desmarais de boue dans I'Etat du Maine.Une exposition parisienne, organisee par Daniel Abadie au Centre National d'Art Contemporain, lui est entierement consacree.II travaille dans les rues de Belleville et cree des lieux d'habitation. II rencontre Josefa, une fillette agee de 10 ans debordante d'imagination,qui croit dans les «petites gens, (fruit de son imagination) et est persuadee que les aliments risquent de se transformer en poison dans leursbouches s'ils ne partagent pas cette nourriture. «Three Peoples, est publie par Ida Gianelli et co'i'ncide avec une exposition presentee a Iagalerie Saman de Genes. II travaille dans les rues avoisinantes du port de Genes et construit des habitations.1976 II est invite a participer a Ia serie «projets, au Musee d'Art Moderne de New York ou il cree Picaresque Landscape.II rec;oit une proposition portant sur les Stanley Tankel Memorial Hanging Gardens.II est invite a exposer a Ia Biennale de Venise. II travaille dans les rues de Guidecca.104

Earth Day Festival, Museum of National History, New York, 1976 · Growth House Project•, Cleveland, 19771975 Growth House is constructed at Art Park, Lewiston, New York. Invited to take part in the Whitney Biennial.Refuses to put work in Museum but builds a dwelling in the street indicated by a sign in the museum.Cries over Smithson's death while holding small spiral shells in mud flats in Maine.Has first one-person exhibition in Paris curated by Daniel Abadie at the Centre National d'Art Contemporain.Works in the streets of Belleville making dwellings. Meets Josefa, who is 10 years old and believes in "little people" of her own and that foodturns to poison in their mouths if they don't share it. "Three Peoples" is published by Ida Gianelli coinciding with an exhibition at Saman gallery,Genoa. Works in streets of port area of Genoa making dwellings.1976 Invited for "projects" series at the Museum of Modern Art, New York where he creates Picaresque Landscape.Proposal for Stanley Tanke! Memorial Hanging Gardens.Invited to exhibit at the Venice Biennale. Works in the streets of Guidecca.Creates a linear people dwelling at The Museum of Natural History, New York as part of Earth Day festival.1977 Participates in a housing project called City Project Cleveland.One-person exhibition entitled, "Temenos" at the Albright Knox Museum, Buffalo. Participates in Documenta 6.Goes to Berlin for one year with DAAD (Deutscher Akademischer Austauschsdienst).Produces Circles and Towers Growing series. Biennial at Whitney Museum.1978 Floating Cities and other Architectures exhibited at Westfalischer Kunstverein, curated by Herbert Molderings. Visits Leningrad.105

«Dwelling•, Whitney Museum, New York, 1977 «Floating Cities Model•, projet I project, 1g78 Charles Simonds et I and Daniel Abadie, Berlin est IEast Berlin, 1978II cree une habitation populaire lineaire au Musee d'Histoire Naturelle de New York dans le cadre du Festival de Ia Journee de Ia Terre.1977 II participe a un projet de logement baptise «Projet urbain de Cleveland» .Exposition entierement consacree a son travail nommee «Temenos", presentee au Musee Albright Knox, a Buffalo.II participe a Documenta 6 . II vit pendant une annee a Berlin avec le DAAD (Deutscher Akademischer Austauschsdienst). II realise Ia serieCircles and Towers Growing. Biennale au musee Whitney.1978 «Floating Cities and other Architectures», muvres presentees au Westfalischer Kunstverein, lors d'une exposition organiseepar Herbert Molderings. II visite Leningrad.Jurgen Schweinebraden organise une exposition individuelle clandestine a Berlin Est. Birthscape est creee pour etre presentee lors de cetteexposition «Door beeldhouwers gemaakt>> (Made By Sculptors) au musee de Stedelijk, Amsterdam.II partage son atelier avec Gordon Matta-Ciark et, a l'annonce de sa mort, qu'il deplorera cruellement, il lui dediera son muvre.II voyage dans les Orcades et se rend sur l'lle de Skye, en Ecosse.1979 «Cracking>>, fiction imaginee par Lucy Lippard d'apres l'muvre de Simond, est publiee par Walter Konig a Cologne. Elle fait office decatalogue dans le cadre d'une exposition organisee au musee Ludwig de Cologne eta Ia Nationalgalerie a Berlin.1980 Instant House, muvre creee a Iowa. Une structure spiralee dilatee, composee de tissus, est arrosee d'eau et gele pendant Ia nuit.II emmenage dans un loft situe sur Ia 22e Street a New York.106

Ecosse I Scotland, 1978«Instant House", 1980, Iowa City, IowaJurgen Schweinebraden organizes a clandestine individual exhibition in East Berlin.Birthscape is constructed for the exhibition "Door beeldhouwers gemaakt" (Made By Sculptors) at Stedelijk Museum, Amsterdam.Work shares room with Gordon Matta-Ciark's and Simonds dedicates work to him upon learning of his death. Cries over his death.Travels to Orkneys and Isle of Skye, Scotland.1979 "Cracking" a fiction by Lucy Lippard based on Simond's work is published by Walter Konig, Cologne. It is used as a catalogue for anexhibition at the Ludwig Museum in Cologne and Nationalgalerie in Berlin.1980 Instant House, created in Iowa. Inflated spiral structure of cloth is sprayed with water and freezes overnight.Moves to loft on 22nd Street, New York. Camps out in New Mexico desert to see flora bloom.Invited to participate in the Rose exhibition and builds dwellings in the streets of Dublin.Goes to China with Lucy Lippard, Sol Lewitt and others. Works in streets of Shanghai and Guilin.1981 Constructs permanent installations of dwellings at the Whitney Museum, New York, Kunsthaus Zurich, Zurich,and The Museum of Contemporary Art, Chicago.Begins cutting niches for dwellings as opposed to working with already existing spaces.Invited by Hans Haacke to teach advanced sculpture at Cooper Union, New York.First retrospective is organized by John Hallmark Neff, Director of the Museum of Contemporary Art, Chicago. Catalogue contains essaysby John Neff, John Beardsley, and Daniel Abadie.107

Desert en fleur, Nouveau-Mexique I Desert in bloom, New Mexico, 1980 •Dwelling .. , 1980, Rose exhibition, Dublin, lrlande I Ireland En Chine I In China, 1980II part camper dans le desert du Nouveau-Mexique pour assister a l'eclosion des fleurs .II est invite a participer a !'exposition Rose et construit des habitats dans les rues de Dublin.II se rend en Chine en compagnie de Lucy Lippard, Sol Lewitt et d'autres personnes. II travaille dans les rues de Shanghai et de Guilin.1981 II construit des habitats permanents au musee Whitney de New York, au Kunsthaus de Zurich et au Museed'Art Contemporain de Chicago.II commence a decouper des niches qu'il utilise en guise d'habitats, dans le dessein de se demarquer des espaces deja existants.II est invite par Hans Haacke pour enseigner Ia sculpture moderne au Cooper Union, a New York.Une premiere retrospective est organisee par John Hallmark Neff, Directeur du Musee d'Art Contemporain de Chicago.Le catalogue comprend des essais de John Neff, John Beardsley et Daniel Abadie.L'exposition est presentee au Musee d'Art de Los Angeles, Californie ; au Musee d'Art de Fort Worth, Texas ; au Musee d'Art Conternporain deHouston, Texas ; au Musee d'Art de Phoenix, Arizona; au Musee d'Art du memorial de Brooks, a Memphis, Tennessee et, en dernier lieu, auMusee Guggenheim de New York.II visite Ia plate-forme petroliere de Glomar Challenger dans le golfe du Mexique.II pratique le ski de randonnee dans les pares nationaux de Banff et de Yellowstone. II fait du canoe dans les eaux territoriales du Minnesotaet observe les lumieres du Nord. II se rend dans Ia Vallee de Ia Mort.II est invite a eriger des habitats pour le Musee d'lsrael a Jerusalem. II travaille pendant uncertain ternps dans les rues de cette ville.1982 II rencontre Bella Meyer et l'epouse en 1985.108

Travaillant en Chine I Working in China, 1980 Death Valley, Californie I California, 1981 Travaillant sur «Age" I Working on "Age", 1 983Exhibition travels to the Los Angeles County Museum of Art, California; the Fort Worth Art Museum, Texas; the Contemporary Arts Museum,Houston, Texas; the Phoenix Art Museum, Phoenix, Arizona; the Brooks Memorial Art Museum, Memphis, Tennessee and concludes atthe Guggenheim Museum in New York.Visits Glomar Challenger oil platform in Gulf of Mexico.Cross country skies in Banff and Yellowstone National Parks. Canoes boundary waters of Minnesota and watches Northern lights.Visits Death ValleyInvited to make dwellings for the Israel Museum in Jerusalem. Spends time working in the streets of Jerusalem.1982 Meets Bella Meyer whom he marries in 1985.1983 Installs Age in the rotunda of the Guggenheim Museum. Rents "bare boat" and sails the Virgin Islands, Caribbean.1984 "House Plants and Rocks" exhibition at Leo Castelli Gallery, New York.1985 Exhibition "The Three Trees" at Architekturmuseum, Basel, Switzerland.1986 Exhibition at Galerie Lelong, Paris. Invited to be a Fellow of Art at the American Academy in Rome.1987 Exhibition at Baudoin Lebon, Paris. Large scale "cracked" fired tile floor and walls of progressively changing sizes109

Travaillant sur «Age .. I Working on "Age", 1983 «Age .. , 1983, The Solomon R. Guggenheim Museum, New York «Three Trees», 1985, Architektur Museum, Bale,Suisse I Basel, Switzerland1983 II installe Age dans Ia rotonde du Musee Guggenheim. II loue un «bateau tout simple, et vogue vers les lies Vierges, dans les Cara.'l'bes.1984 Exposition «House Plants and Rocks, a Ia Galerie Leo Castelli a New York.1985 Exposition «The Three Trees, a I'Architekturmuseum de Bale en Suisse.1986 Exposition a Ia Galerie Lelong a Paris. II est invite a etre membre associe des Arts au sein de I'Academie americaine a Rome.1987 Exposition a Ia Galerie Baudoin Lebon, a Paris. Y sont exposes un plancher pare-feu en tuile «lezarde>> et des mursen brique aux dimensions en evolution progressive. II s'agit Ia des composantes des plans d'une future maison, objet du desir de constructionde Simonds. Naissance de sa fille Lia ...1988 Exposition a Ia Galerie Corcoran de Washington D.C. Y sont presentes le modele Refuge destine au projet permanentdans le cadre des Jeux Olympiques de Seoul en Coree et une «Salle ,, illustrant le projet grandeur nature. II se rend a Seoul pour construireRefuge au sein du pare olympique.1989 Exposition a Ia Galerie Leo Caste lli a New York. Naissance de son fils Timothy.1991 Ses installations sont exposees a Ia Galerie Baudoin Lebon, a Paris.110

•Three Trees», 1985, Architektur Museum, Bale, Suisse I Charles Simonds dans son atelier I in his studio, 1986Base/, Switzerland· Refuge .. , 1988, Pare Olympique, Seoul, Coree IOlympic Park, Seoul, Koreaof bricks exhibited as components of a future planned house Simonds wants to build.Daughter Lia is born.1988 Exhibition at Corcoran Gallery, Washington D. C. Refuge model for permanent project for Seoul Korea Olympics and one "room" ofproject created full scale. Travels to Seoul to construct Refuge in Olympic Park.1989 Exhibition at Leo Castelli Gallery, New York. Son Timothy is born.1991 Exhibits installations at Baudoin Lebon Gallery in Paris.1992 Exhibition at Leo Castelli Gallery, New York.1993 Exhibition at Leo Castelli Gallery, New York.1994 Retrospective exhibition organized by Tom Messer and curated by Daniel Abadie. Inaugurated at "La Caixa" in Barcelona,and then presented at the Galerie nationale du Jeu de Paume.1995 Works with patients at Centre d'Etude de !'Expression, Clinique des Maladies Mentales et de I'Encephale,Centre Hospitalier Sainte-Anne, Paris on communal sculpture.111

«Passage .. , 1989, Centre Georges Pompidou, Paris«Stugg .. , 1991. Exposition I Exhibition L'Art a Ia plage, Ramatuelle, 1994 «Guardian of the Enfant .. , 1995,patient du I from Centre HospitalierSainte-Anne, Paris1992 Exposition a Ia Galerie Leo Caste lli a New York.1993 Exposition a Ia Galerie Leo Castelli a New York.1994 Exposition retrospective organisee par Tom Messer et Daniel Abadie, inauguree a «La Caixa» (Caisse de Depots et Consignations)a Barcelone, et presentee ensuite a Ia Galerie nationale du Jeu de Paume.1995 II travaille avec des patients au Centre d'Etude de !'Expression, a Ia Clinique des Maladies Mentales et de I'Encephaleainsi qu'au Centre Hospitalier Sainte-Anne a Paris, a partir des sculptures de Ia vi lle.1996 II donne des conferences a l'h6pital Sainte-Anne a I' attention des therapeutes ayant travaille avec des patients l'annee precedente.1997 II travaille sur Ia transformation de grottes dans le cadre du Festival Spoleto de Charleston en Caroline du Sud.1998 Exposition «Houseplants, a Ia Galerie Joseph Helman, a New York.1999 Exposition «Charles Simonds» au Musee d'Art de Denver, Etat du Colorado.2001 Exposition «is was» a Ia Galerie Joseph Helman, a New York.112

· Grotto», 1997, Spoleto Festival, Charleston, Caroline du Sud ISouth Carolina«Houseplants», 1998, Joseph Helman Gallery, New York«Smear .. , 20011996 Lectures at Centre Hospitalier Sainte-Anne to therapists on work with patients the previous year.1997 Works on transforming grotto for Spoleto Festival in Charleston, South Carolina.1998 Exhibition "Houseplants" at the Joseph Helman Gallery, New York.1999 Exhibition "Charles Simonds" at the Denver Art Museum, Colorado.2001 Exhibition "is was" at the Joseph Helman Gallery, New York.113

Expositions I ExhibitionsExpositions personnelles IPersonal Exhibitions1975- Centre national d'Art contemporain, Paris,France, "Charles Simonds: Demeures etMythologies", November 19, 1975-January 11,1976. Catalogue: Art!Cahier 2, texts by CharlesSimonds, introduction by Daniel Abadie.- Samangallery, Genoa, Italy, "Dwellings", fromNovember 26, 1975.1976- Museum of Modern Art, New York, USA, seriesMarch 1 0-April 9, 1978; Bonner Kunstverein,Bonn, Germany, Aprii14-May 21, 1g78:"Schwebende Stiidte und andereArchitekturen!Fioating Cities and OtherArchitectures". Catalogue: texts by CharlesSimonds and Herbert Molderings, introductionby Daniel Abadie and Lucy R. Lippard.- Samangallery, Genoa, Italy, "Citta galleggianti",from October 14, 1 g78.1979- Museum Ludwig, Cologne, Germany, March15-April 15, 1 g7g; Nationalgalerie, Berlin,Germany, May 3-June 10, 1 g79: "Circles and1980-Dartmouth College Museum, Beaumont-MayGallery, Hopkins Center, Hanover(New Hampshire), USA, "Charles Simonds",April 26-May 25, 1980.- California State University, Fine Arts Gallery, ArtDepartment, Los Angeles. USA, "CharlesSimonds: Installation", October 6-November 6,1980.1981- Museum of Contemporary Art, Chicago,November 7, 1981-January 3, 1982;Los Angeles County Museum of Art,Art Cahicr 2Charles SimondsCharles imondsSchwebende Stiidteund andere ArchitekturenFloating Citiesand Other ArchitecturesCharles Simonds, Art!Cahier 2, Paris, France, SMI, 1975Schwebende Stadte und andere Architekturen!Fioating Cities and Other Architectures. WestfalischerKunstverein, Munster, Germany, 1978"Projects": "Charles Simonds: PicaresqueLandscape", October 14-December 2, 1976;New York Public Library, Tompkins Square,New York, USA, 1977.1977-Albright-Knox Art Gallery, Buffalo (New York),USA, "Charles Simonds: Temenos",June 11-July 17, 1977. Catalogue: textby Linda L. Cathcart, introduction by DanielAbadie.1978- Westtalischer Kunstverein, Munster, Germany,Towers Growing". Book is published on theoccasion of the exhibition: Cracking by Lucy R.Lippard and Charles Simonds.- Musee de I'Abbaye Sainte-Croix, Les Sablesd'Oionne,France, "Charles Simonds: Evolutionimaginaire d'un paysage", June 30-July 31,1979. Catalogue: Cahiers de I'Abbaye Sainte­Croix, No. 32, text by Gilbert Lascault.- Galerie Baudoin Lebon, Paris, France, '"Circlesand Towers Growing', evolution imaginaire d'unpaysage", September 25-0ctober 22, 1979.-Centre d'Art Contemporain, Geneva,Switzerland, "Floating Cities and OtherArchitectures", from October 2, 1979.Los Angeles. USA, January 28-march 21,1982; Fort Worth Art Museum, Fort Worth(Texas), USA, Aprii13-May 30, 1982;Contemporary Art Museum, Houston, USA,June 21-August 15, 1982; "Charles Simonds:Circles and Towers Growing". Catalogue:texts by Daniel Abadie, John Beardsley andJohn Hallmark Neff.1982- Phoenix Museum of Art, Phoenix (Arizona),USA, 1982.- Brooks Memorial Art Gallery, Memphis(Tennessee), USA, December 1982.116

Simonds", April 13-May 25, 1991.1992-Leo Castelli Gallery, New York, USA, "Stugg.Thebb . . The Singing Monkey", April 4-25,1992.1993- Leo Castelli Gallery, New York, USA, "CharlesSimonds", October 30-November 27, 1993.1994- Fundaci6 "Ia Caixa", Barcelona, Spain,"Charles Simonds, Retrospective", April 22-June 5, 1994. Catalogue: texts by DanielAbadie and Germano Celant.- Galerie nationale du Jeu de Paume, Paris,France, "Charles Simonds", December 20,1994-January 29, 1995. Catalogue: bilingualversion French-English from precedingcatalogue.1999-"Charles Simonds 'Houseplants"', JosephHelman Gallery, New York, USA, January 20-February 20, 1999.-"Charles Simonds", Denver Art Museum,Denver (Colorado), USA, October 16, 19g9-March 26, 2000.2001-Charles Simonds "Is was", Joseph HelmanGallery, New York, USA, May 9-June 9, 2001.Leafiet: text by Donald Kuspit.Charles Simonds, Galerie nationale du Jeu de Paume, Paris, France, 1994Expositions collectives IGroup Exhibitions- Walter Phillips Gallery, Banff, "Charles Simonds:Home Making", February 22-March 15, 1982.1983- Joslyn Art Museum, Omaha (Nebraska). USA,January-March 13, 1983.- Solomon R. Guggenheim Museum, New York,USA, "Circles and Towers Growing", "Age",September 23-0ctober 30, 1983. Leaflet: textby Diane Waldman.1984- Leo Castelli Gallery, New York, USA, "HousePlants and Rocks", October 13-November 10,1984. Catalogue: text by Charles Simonds.1985- Architekturmuseum, Basel, Switzerland,"Charles Simonds: The Three Trees",June 8-July 28, 1 g95. Catalogue published in1987: text by Ulrike and Werner Jehle-SchulteStrathaus.1986- Galerie Maeght Lelong, Paris, France, "CharlesSimonds", September 24-November 1, 1986.Catalogue: Reperes, cahiers d'artcontemporain, No. 31, text by Gilbert Lascault.1987- Galerie Baudoin Lebon, Paris, France,"Charles Simonds: Installation", October?­November 7, 1987.1988- Corcoran Gallery of Art, Washington, USA,"Spectrum: Charles Simonds", May 10-July 3,1971- "112 Greene Street". 112 Greene Street,New York, USA, 1971.1972- Willard Gallery, New York, USA. 1972.1973- "8eme Biennale de Paris," Musee d'Artmoderne de Ia Ville de Paris, Paris, France,September 15-0ctober 21, 1973. Catalogue.1974- "Interventions in Landscape", MassachusettsInstitute of Technology, Hayden Gallery,1988. Catalogue: text by John Beardsley.Cambridge (Massachusetts). USA, April 12-May 11,1974. Catalogue.1989- Leo Castelli Gallery, New York, USA, "Charles 1975Simonds Wall Smears and Rocks", May 6-27, - "1975 Biennial Exhibition: Contemporary1989.1990-Loyola's Danna Center Gallery, New Orleans,USA, March-April 13, 1990.1991- Galerie Baudoin Lebon, Paris, France, "CharlesAmerican Art", Whitney Museum of AmericanArt and 112 Greene Street, New York, USA,January-April 1975. Catalogue.- Artists Space, New York, USA, May 1975.-"Primitive Presence in the 70s", VassarCollege Museum of Art, Poughkeepsie,New York, USA, May 5-31, 1975. Catalogue,text by Nadia Tscherni.117

-"9th Biennale de Paris", Musee d'Art modernede Ia Ville de Paris, Paris, France, September 19-November 2, 1975. Catalogue.- "Art in Landscape", exhibition itineraryorganized by Independent Curators, Inc.,Washington , USA, 1975. Catalogue, text bySusan Sollins.-"Not Photography", Fine Arts Building,New York, USA, November 1-11, 1975.-"Small Scale", The Art Institute of Chicago,Chicago, USA, spring 1975. Catalogue.1976- "9eme Biennale de Paris a Nice", Musee deNice, Nice. France, January 30-March 31,1976. Catalogue, text by Gunter Metken.- "Scale", The Fine Arts Building, New York,USA, February 14-24, 1976.- "Personal Mythologies", The Fine Arts Building,New York, USA. April 3-13, 1976- "Subject, Object, Project: Projects for PCA",Philadelphia College of Art, Philadelphia, USA,April 19-May 21, 1976. Catalogue, text byJanet Kardon.-"Earth Day Festival, 1976", Museum of NaturalHistory, New York, USA, May 1976.- "Rooms", P.S. 1, Long Island City (New York),USA, June 10-26, 1976.- "XXXVIIe Biennale", Venice, Italy, summer 1976.Catalogue, text by Olle Granath.1977- "1977 Biennial Exhibition: ContemporaryAmerican Art", Whitney Museum of AmericanArt, New York, USA, February-March, 1977.Catalogue, about Simonds: pp. 76-77.- "A Question of Scale", Visual Arts Museum,New York, USA, April 5-22, 1977.- "Naturbetrachtung-Naturverfremdung, Trilogie1", Wurttembergischer Kunstverein, Stuttgart,Germany, Aprii7-June 5, 1977. Catalogue,about Simonds: p. 38.-"The City Project 1977: Outdoor EnvironmentalArt", The New Gallery of Contemporary Art andCleveland State University, Cleveland (Ohio).USA, exhibition organized by IndependentCurators. Inc., Washington, USA, May 14-June 18, 1977. Catalogue.- "Documenta VI", Kassel, Germany, June 24-0ctober 2, 1977. Catalogue, about Simonds:text by Michael Maek Gerard, pp. 272-273.- "Scale and Environment: 10 Sculptors", WalkerArt Center, Minneapolis, USA. October 2-November 27, 1977. Catalogue, aboutSimonds: text by Lisa Lyons, pp. 58-62.- "Probing the Earth : Contemporary LandProjects", Smithsonian Institution, HirshhornMuseum and Sculpture Garden, Washington,USA. October 27, 1977-January 2, 1978; LaJolla Museum of Contemporary Art, La Jolla(California). USA, January 27 -February 26,1978; Seattle Art Museum, Seattle, USA,March 23-May 21, 1978. Catalogue, aboutSimonds: text by John Beardsley, pp. 76-80.- "Kunst and Architek1ur", Galerie Magers, Bonn,Germany, December 9, 1977-January 31,1978. Catalogue, text by Werner Lippert.1978- "Spring Festival" (exhibition organized by theGalerie Baudoin Lebon), The American Center,Paris, France, May 4-June 10, 1978.Catalogue.-"Sculpture/Nature", Centre d'Arts plastiquescontemporains (CAPC), Bordeaux, France,May 5-July 1st. 1978. Catalogue, text byJean-Louis Froment.- "XXXVIIIe Biennale", Venice, Italy, summer- "Eleventh International Sculpture Conference",Washington, USA, June 1980.- "Architectural Sculpture", Institute ofContemporary Art/California State University,Los Angeles, USA, October 6- November 6,1 g8o. Catalogue, text by Debra Burchett.- "ROSC-'80", National Gallery of Ireland,University College, School of Architecture,Dublin, Ireland, 1980. Catalogue. aboutSimonds: pp. 108-109.1978. Catalogue.-"Architectural Analogues", Whitney Museum of 1981American Art, Downtown Branch, New York, -"Architecture by Artists", Rosa Esman Gallery,USA, September 20-0ctober 25, 1978.New York, USA, 1981 .Catalogue, text by Lisa Phill ips.- "Mythos und Ritual in der Kunst der 70er- "Door Beeldhouwers Gemaakt/Made byJahre", Kunsthaus Zurich, Zurich, Germany,Sculptors", Stedelijk Museum, Amsterdam,June 5-August 23, 1981.Netherlands, September-November 5, 1978.Catalogue.- "Dwellings", University of Pennsylvania, Instituteof Contemporary Art, Philadelphia, USA,October 20-November 25, 1978. Catalogue,text by Lucy R. Lippard.- "Quintessence", Wright State University andThe City Beautiful Council, Alternatives SpacesResidency Program, Dayton (Ohio), USA, 1978.Catalogue, about Simonds: p. 50.- "DAAD Artists", DAADgalerie, Berlin, Germany,December 8, 1978-January 14, 1979.-"Imaginary Worlds", Rosa Esman Gallery,New York, USA, December 9, 1978-January 6,1979.1979- "Contemporary Sculpture", Museum of ModernArt, New York, USA, June-August 7, 1979.Catalogue.- "Ten Artists/Artists Space", State University ofNew York College at Purchase, NeubergerMuseum, New York, USA, September 9-0ctober 15, 1979. Catalogue, text by HeleneWiner; about Simonds: pp. 26-27.- "Supershow" (exhibition organized byIndependent Curators, Inc., New York), TheHudson River Museum, Yonkers (New York),USA. October 20-December 9, 1979;Landmark Center, Saint Paul (Minnesota), USA,January 26-March 9, 1980; The Center for FineArts, Mesa (Arizona), USA, April 12-June 4,1980; The New Gallery, Cleveland (Ohio), USA,October 3-31, 1980. Catalogue, text by SusanSollins.- "Masks Tents Vessels Talismans", University ofPennsylvania, Institute of Contemporary Art,Philadelphia, USA, December 5, 1979-January13, 1980. Catalogue. text by Janet Kardon.1980- "Architectural References", The Vancouver ArtGallery, Vancouver, Canada, April 30-June 1 ,1980. Catalogue, text by Babs Shapiro.- "Pier + Ocean: Construction in the Art of theSeventies", Hayward Gallery, London, England,May 8-June 22, 1980; RijksmuseumKrbller-Muller, Otterlo, Netherlands, July 13-September 8, 1980. Catalogue, introduction byGerhard von Graevenitz.1982- "Vergangenheit-Gegenwart-Zukunft, Trilogie II",Wurttembergischer Kunstverein, Stuttgart,Germany, June 9-August 22, 1982. Catalogue.- "Correspondencias: 5 Architectos, 5Escultores", Palacio de las Alhajas, Caja deAhorros y Monte de Piedad de Madrid, Plazade las Descalzas, Madrid, Spain, October­November 30, 1982. Catalogue. aboutSimonds: pp. 37-38.- "Terres", Atelier des enfants, Centre GeorgesPompidou, Paris, France, 1982. Catalogue,about Simonds: pp. 15, 53.1983-"Director's Choice", Des Moines Art Center,Des Moines (Iowa), USA, September 13-0ctober 23, 1983. Catalogue.-"New Art at the Tate Gallery, 1983", The TateGallery, London, England, September 14-0ctober 23, 1983. Catalogue.- "The House that Are Built", The Main ArtGallery, Visual Arts Center, California StateUniversity, Fullerton (California), USA,October-December. 1983. Catalogue. aboutSimonds: pp. 95-96.1984-"Return of the Narrative", Palm Springs DesertMuseum, Palm Springs (California). USA,March 17 -June 3, 1984. Catalogue.- "Cathey Billian, Michael Graves, CharlesSimonds: Art for the Park, Liberty State ParkArt Projects", Jersey City Museum(New Jersey). USA, June 20-August 24, 1984.Catalogue, text by Tom Moran.1985- "Rethinking the Avant-Garde", The KatonahGallery, Katonah (New York). USA. November3, 1985-January 5, 1986. Catalogue, text byJonathan Fineberg.- "Transformations in Sculpture. Four Decades ofAmerican and European Art", Solomon R.Guggenheim Museum, New York, USA,December 1985-January 6, 1986. Catalogue.1986- "An American Renaissance, Painting and118

Couverture I Cover:Charles Simonds, Pulled, detail / detail, 2001,argile, bois et platre, 122 x 61 x 109,5 em I clay, wood and plaster /48 x 24 x 43 inches

charles simondsSculpture Since 1940", Museum of Art, FortLauderdale (Florida), USA, January 12-March30, 1986. Catalogue.-"Drawing by Sculptors", Nohra Haime Gallery,New York, USA, February 5-March 1st, 1986.-"Steinberg, Simonds, Beuys", Galerie MaeghtLelong, Paris, France, September 24-November 1st, 1986.1987-"Symbolic Narrative", Beaver College ArtGallery, Spruance Art Center, Glenside(Pennsylvania), USA, March 4-25, 1987.-"The Eloquent Object", Philbrook Museum ofArt, Tulsa (Oklahoma), USA, itinerary exhibition,1987.- "Leo Castelli and His Artists: 30 Years ofPromoting Contemporary Art", Centro CulturalArte Contemporaneo, Mexico, Mexico, June 25-0ctober 18, 1987.- "Architecture as Image", Islip Art Museum,East Islip (New York), USA, October 17-November 22, 1987.-"The Transformantive Vision", Davis/McClainGallery, Houston (Texas), USA, October 17-November 21 , 1987.- "Fifty Years of Collecting: An AnniversarySelection. Sculpture of the Modern Era",Solomon R. Guggenheim Museum, New York,USA, 1987. Catalogue, text by Thomas M.Messer.1988- "Big Little Sculpture", Williams College of Art,Williamstown (Pennsylvania), USA, February 13-April 16, 1988.-"Gordon Matta-Ciark and Friends", GalerieLelong, New York, USA, March 11-April 16,1988.- "Sculpture & Architectural Design", TheSpectrum Series, Corcoran Gallery of Art,Washington, USA, April 1 0-June 3, 1 g88.- "Contemporary Icons and Explorations, TheGoldstrom Family Collection", itineraryexhibition in United States, 1988-1992.Catalogue.- "Golem! Danger, Deliverance and Art", JewishMuseum, New York, USA, from November 17,1988.- "Oiympiades des Arts", Seoul, Korea, 1988.Catalogue, about Simonds: pp. 312-313.1989- "Selections from the Permanent Collection",Solomon R. Guggenheim Museum, New York,USA, May 26-September 3, 1989.- "Espace", Galerie Art 4, Paris La Defense,France, July 12-September 4, 1989.Catalogue, text by Michel Makarius.-"Miniature Environments", Whitney Museum ofAmerican Art at Philip Morris, New York, USA,August 2-September 1989. Catalogue.- "Donations Daniel Cordier, le regard d'unamateur", Musee national d'Art moderne,Centre Georges Pompidou, Paris, France,November 21, 1989-January 21, 1990.Catalogue.Terres d'ici et d'ailfeurs, Espace d'art contemporain, Rouille, France, 19971990- "Pharmacy", Jan Kesner Gallery, Los Angeles,USA, Aprii6-May 12, 1990.- "CEuvres choisies 1 ", Gal erie Enrico Navarra,Paris, France, May-June 29, 1990.- "CEuvres choisies 2", Galerie Enrico Navarra,Paris, France, September 13-0ctober 31,1990.- "Sculpture Aspen 1990", Aspen Art Museum,Aspen (Colorado), USA, June 14-September30, 1990. Catalogue, text by Josephine Gear.1991- "EI Sueno Egipto", Centro Cultural ArteContemporaneo, A. C., Polanco (Mexico),Mexico, February-March 1991.1993- "Differentes Natures, Visions de l'artcontemporain", Galerie Art 4 and Galerie de!'Esplanade Defense, Paris La Defense, France,June-September 1993. Catalogue.1997- "Terres d'ici et d'ailleurs", Charles SimondsOusmane Sow, Espace d'art contemporain,Lycee Agricole Xavier Bernard, Rouille, France.Catalogue.- "City Scapes, a Survey of Urban Landscapes",Marlborough Gallery, New York, USA, May 6-June 7, 1997. Catalogue.1999- "Lie of the Land", John Hansard Gallery,Southampton England.-"Down to Earth", Marianne Boesky Gallery,New York, USA.2000-"Summer", Joseph Helman Gallery, New York,USA. Andoe, Simonds Oppenheim, JosephHelman Gallery, New York, USA.-"Collection Cordier", Les Abattoirs, Toulouse,France.-"Set and Situations", Museum of Modern Art,New York, USA.-"Defining Craft", American Craft Museum,New York, USA.119

Bibliographie I BibliographyTextes de Charles Simonds ITexts by Charles Simonds- "Miniature Dwellings", On site, New York, USA,No.4. 1g73.- "Microcosm to Macrocosm/Fantasy World toReal World" (conversation with Lucy R.Lippard), Artforum, New York. USA. vol.12.No. 6, February 1 g7 4. pp. 36-39.- "Letter to the Editor", Artforum, New York,USA, vol. 12. No. 9. May 1974, p. 9.-Texts, "Charles Simonds", Art!Cahier 2, Paris,France. SMI. 1975.- Three Peoples, Genoa, Italy, Samanedizione,German and English in Schwebende Stadteund andere Architekturen/Fioating Citiesand Other Architectures, Munster. Germany,Wesfalischer Kunstverein, 1978, pp. 28-35;reproduced in English in Charles Simonds,Chicago, USA, Museum of Contemporary Art,1981, pp. 35-38, and in NACA Journal, vol. 1,1992. pp. 81 -96.- "Schwebende Stadte/Fioating Cities",Schewebende Stadte und andereArchitekturen/Fioating Cities and OtherArchitectures, Munster, Germany, WesfalischerKunstverein, 1978, pp. 46-50, in Germanyand in English.Textes de cataloguesd'expositions personnelles ITexts issued from personalexhibitions catalogsAbadie, Daniel- "Entretien", Charles Simonds, Art!Cahier 2.Paris, France, SMI, 1975, pp. 5-14;reproduced in English in Charles Simonds,Buffalo, USA, Buffalo Fine Arts Academy andThe Albright-Knox Art Gallery, 1977, pp. 7-14.- "Simonds: Life Built to Dream Dimensions".Charles Simonds, Chicago, USA. Museum ofContemporary Art. 1981, pp. 31-34.- "Les constructions de !'esprit", CharlesSimonds, Paris, France, Galerie nationale duJeu de Paume. 1994. pp. 13-17Abadie, Daniel and Lippard, Lucy R.- "Interview". text consisted of reviewed andcorrected extracts with interviews by CharlesSimonds with Daniel Abadie (1975) and withLucy R. Lippard (197 4)]. Schwebende St8dteund andere Architekturen!Fioating Citiesand Other Architectures, Munster. Germany,Westfalischer Kunstverein, 1978, pp. 15-25,in Germany and in English.Beardsley, John- "On the Loose with the Little People:A Geography of Simonds's Art". CharlesSimonds, Chicago, USA, Museumof Contemporary Art, 1981. pp. 26-30.- Spectrum: Charles Simonds, Washington.USA. Corcoran Gallery of Art, 1988.Cathcart, linda L.- Charles Simonds, Buffalo, USA, Buffalo FineArts Academy and The Albright-Knox ArtGallery, 1977, pp. 1-5.Celant, Germano- "L'anthropomorphisme de Charles Simonds".Charles Simonds, Paris, France, Galerienationale du Jeu de Paume. 1994, pp. 18-27House Plants and Rocks, Leo Castelli Gallery, New York. USA, 1984Jehle-Schulte Strathaus, Ulrike and Werner- The Three Trees im Architekturmuseum inBase/, Basel, Switzerland, Architekurmuseum,1987, 48 pages.1975. 32 pages. in Italian and English; text isreproduced in English in Unbuilt America byAlison Sky and Michelle Stone, New York, USA,McGraw-Hill Book Co .. 1976. pp. 218-221;reproduced in English in Individuals: Post­Movement Art in America, edited by AlanSondheim, New York, USA, E.P. Dutton & Co ..1977. pp. 290-311; reproduced in Germanunder the title "Drei Volker", Kunstmagazin,No.2 1978, pp. 72-76; reproduced in Germanin "Der Baumeister der Traume: Wirlichkeit undGedankenspiel bei Charles Simonds"by Friedmar Apel. Sprache im technischenZeitalter, No. 6, July 1978; reproduced in- "Working in the Streets of Shanghai andGuilin". Artforum, New York. USA. vol. 18.No. 10, summer 1980, pp. 60-61.- "Statement", Artforum. New York. USA. vol. 18,No. 5. January 1980, p. 29.-Text. House Plants and Rocks, New York, USA,Leo Castelli Gallery. 1984.- "Earth and Sanity/Terre et Sante", InternationalJournal of Art Therapy. No. 1. 1997. pp. 6-9.Kuspit, Donald- "Charles Simonds", is was (leaflet). New York,USA, Joseph Helman Gallery, 2001.Lascault, Gilbert- "Sept notes tournant auteur des travaux deCharles Simonds", Charles Simonds "Evolutionimaginaire d'un paysage", Les Sables-d'Oionne.France. Cahiers de I'Abbaye Sainte-Croix,No. 32, 1979.- "Reves de Terre", Reperes. cahiers d'artcontemporain, No. 31, Paris, France, GalerieMaeght Lelong. 1986, pp. 3-10.Lippard, Lucy R.- Cracking (in collaboration with Charles120

Simonds), Cologne, Germany, Verlag derBuchhandlung Walther Konig, 1979,128 pages. (Book published on the occasionof the exhibition "Circles and Towers Growing",at the Museum Ludwig, Cologne, Germanyand at the Nationalgalerie, Berlin, Germany.)Molderings, Herbert-"Kunst als Gedii.chtnis/Art as Memory",Schwebende Stadte und andere ArchitekturenlFloating Cities and Other Architectures,Munster, Germany, Westfii.lischer Kunstverein,1978, pp. 7-13, in German and in English.Neff, John Hallmark-"Introduction", "Charles Simonds's EngenderedPlaces: Towards a Biology of Architecture" and"Commentaries", Charles Simonds, Chicago,USA, Museum of Contemporary Art, 1981,pp. 9-11, pp. 12-25 and pp. 68-73.Waldman, Diane- "Charles Simonds", Age (leafiet), New York, USA,The Solomon R. Guggenheim Museum, 1983.Articles (selection) I Articles(selection)Abadie, Daniel and Neret, Gilles- "Le deuxieme souffle de Ia Biennale de Paris",L'CEil, Paris, France, No. 219, October 1973,p. 49.Bouyeure, Claude-"Charles Simonds, Galerie Maeght Lelong",Cimaise, Paris, France, November-December1986, p. 104.Bradley, Kim- "Una arquitectura arqueol6gica imaginaria",Panorama, publication of the Fundaci6n"laCaixa", Barcelona, Spain, May 1994, pp. 1-4.Breerette, Genevieve- "Charles Simonds, New Yorkais forme enCalifornie, expose a Paris", Le Monde, Paris,France, January 14, 1995.Briiderlin, Markus-"Charles Simonds-The Three Trees",Kunstforum International, Cologne, Germany,October-November 1g85, pp. 244-245.Bufill, Juan- "Arqueologias imaginarias", La Vanguardia,Barcelona, Spain, May 27, 1994, p. 46.Butterfield, Jan- "The Quiddity of Pluralism and the Quandaryof Scale. The 11th International SculptureConference", Images & issues, vol. 1, No.2,autumn 1980, pp. 17-20.c.,M- "EI sueno biblico de Charles Simonds", ABC de/as Artes, Madrid, Spain, May 20, 1994, p. 35.Abadie, Daniel-"Charles Simonds", ±0, Genvai-Brussels,Belgium, No. 10, September 1975, p. 21.Alinovi, Francesca- "Grande, grandissimo. Piccolo, piccolissimo.L'arte di Gulliver", Bolaffiarte, Turin, Italy,vol. 9, No. 82, September-October 1978,pp. 41-43,97.Allemandi, Alessandro- "Architetture vegetali per case ermafrodite"(interview), II Fotogiornale deii'Arte, May 1994.Andreani, Carole-"Charles Simonds: La Nostalgie de Ia Terre" ,Revue de Ia Ceramique et du Verre,September-October, 1995.Anonyme-"Sculpture: Artpark, 1g74", Artscanada,Toronto, Canada, vol. 31, nos. 190-191,Autumn 1974, pp. 92-93-"Charles Simonds", Saman, Genoa, ltalia,No. 1, 2, 3, 4, 7, 8 and 14, from 1g75 to 1g?8.- "Documenta: SuBer Seim der Medien", DerSpiegel, No. 26, June 20, 1977, pp. 156-158.- "Utopie im Liliput-Format: Charles Simonds inder Neuen Nationalgalerie", Der Tagesspiegel,May 4, 1979, p. 5.- "Observatoire abandonne", Architectured'Aujourd'hui, No. 208, April1980.- "Dialogos con Ia arcilla", La Vanguardia,Charles Simonds, Museum of Contemporary Art, Chicago, 1981Barcelona, Spain, April 26, 1994, p. 36.- "EI m6n imaginari de Charles Simonds",Serra d'Or, Barcelona, Spain, July-August1g94, p. 103.Apel, Friedmar- "Der Baumeister der Traume: Wirlichkeitund Gedankenspiel bei Charles Simonds",Sprache im Technischen Zeitalter, No. 6,July 1978.- "Charles Simonds' dynamische Ordnungen.Charles Simonds' Dynamic Order", Daidalos,1g83.Arnault, Martine-"Charles Simonds", Cimaise, November­December, 1 g94.Artner, Alan G.-"Simonds: A giant in a land of Little People",Chicago Tribune, Chicago, USA, November 8,1981.Baracks, Barbara- "Reviews", Artforum, New York, USA, vol. 15,No.5, January 1977, pp. 57-58.Beardsley, John-"Smithson and the Dialectical Landscape",Arts Magazine, vol. 52, No. 9,May 1978, pp. 134-135.-"Charles Simonds: Extending the Metaphor",Art International, Lugano, Switzerland, vol. 22,No. 9, February 1979, pp. 14-19, 34- "Charles Simonds: Inhabiting Clay", AmericanCeramics, October-December, 19g4.-"Hybrid Dreams", Art in America, March 1995.Bessenich, Wolfgang- "Wachsendes Baumhaus, Der AmerikanerCharles Simonds im Basler Architekturmuseum",Basler Zeitung, June 11, 1 gs5, p. 38.Besson, Christian-"Charles Simonds", Flash Art, May-June 1995.Bosch, Gloria- "Charles Simonds & Christian Boltanski:Ia escritura y Ia mirada restituidas", Arte,July-September 1994, pp. 35-39.Cabanne, Pierre- "Du noir et de Ia terre", Le Malin, Paris, France,October 24, 1986.Calleri, John-"Artist's creation growing to harvest",The Niagara Gazette, 1975.Carteron, Philippe- "Le Magon de l'imaginaire", Le NouvelObservateur, Paris, France, October 23, 1987.Castells, Ada- "De Ia protesta a l'intimisme. Un recorregutper l'univers d'argila de Charles Simonds", AvuiCap de Setmana, Barcelona, Spain, April 22,1994, p. 32.Castle, Ted- "Art in its Place", Geo, vol. 4, No. 9,September 1982, pp. 65-75, 112.-"Charles Simonds: The New Adam", Artin America, New York, USA, No. 2,February 1983, pp. 94-103.Catlin, Roger-"Simonds' Work Tweaks the Imagination",World-Herald, London, England, January 9,1983, pp. 1-15.Calvacanti, Giberto- "Simonds e Clareboudt: 0 Dialogo Corpo/Universo", Vida das Aries, Rio de Janeiro/121

Sao Paulo, Brazil, No. 6, December 1975,pp. 28-29.Celant, Germano-"Charles Simonds: Little People", Casabe//a,No. 411, March 1976, pp. 39-41 .Clair, Jean- "I..: entree des barbares", Chroniques de /'Artvivant, Paris, France, No. 43, October 1973.Claus, J.- "Art of the 1970s in Video and UtopianDesign-The Crisis of the Organizers", O'Ars,No. 85, vol. 18, December 1977, pp. 4-17.Clothier, Peter-"Charles Simonds: Architecture Humanized",Artweek, vol. 11, No. 35, October 25, 1980,pp. 1-2.- Colonna-Cesari, An nick"Charles Simonds", L'Express, Paris, France,January 12, 1995.Combalia, Victoria- "EI area perdida de Simonds", El Pais, Madrid,Spain, May 7, 1g94.Cork, Richard-"Little People live here", The Evening Standard,London, England, May 28, 1980, p. 21.Cornand, Brigitte-"Visions", Actuel, Paris, France, 1983.- "L'univers mythique de Charles Simonds",Le Soir, January 12, 1995.Elliott, David- "Little People invade MCA, stun critic withmessagel", Sunday Sun-Times, November 22,1981, p. 26.Figueres, Abel- "Cos huma, terra, paisatge I habitacle.Exposici6 retrospectiva de l'obra de CharlesSimonds", Avui, Barcelone, Spain, May 26,1994.Fineberg, Johatan-"Tracking the avant-garde", Harvard Magazine,January-February 1984, pp. 24-35.Foote, Nancy- "The Apotheosis of the Crummy Space",Artforum, New York, USA, vol. 15, No. 2,October 1976, pp. 28-37.- "Situation Esthetics: Impermanent Art and theSeventies Audience", Artforum, New York,USA, vol. 18, No.5, January 1980, pp. 22-29.Forgey, Benjamin-"The Whitney Biennial", ART news, New York,USA, vol. 76, No.4, April1977, pp. 120-121.- "Looking Back In Miniature", The WashingtonStar, Washington, USA, June 18, 1980,pp. E-1, E-5.- "It Takes More Than an Outdoor Site to MakeSculpture Public", ART news, New York, USA,vol. 79, No.7, September 1980, pp. 84-88.Gopfert, Peter Hans- "Zerkluftetes Mauerwerk fur Zwerge", BerlinerMorgenpost, Berlin, Germany, May 10, 1979.Haase, Amine-"Auf den Spuren versunkener Zeit", RheinischePost, March 29, 1978.Hahn, Otto- "CEuvres de ruines", L'Express, Paris, France,No. 1895, October 30-November 5, 1987.Hasenkamp, J.- "Ursprungliches und Futurismen", WestfalischeNachrichten, March 11, 1978.Hegemann, William R.-"Scale and Environment: 10 Sculptors",ART news, New York, USA, vol. 77, No. 1,January 1978, p. 116.Herrera, Hayden- "Manhattan Seven", Art in America, New York,USA, vol. 65, No.4, July-August 1977,pp. 50-63.Hess, Thomas B.-"This and That Side of Paradise", New YorkMagazine, New York, USA, November 22,1976, p. 104.Hjort, 0ystein- "Nagra tendenser i ny amerikansk konst",Paletten, Goteborg, Sweden, No.2, 1980,pp. 26-36.Couturier, Elisabeth-"Charles Simonds: se fait tout petit", ParisMatch, Paris, France, February 2, 1995.Daubigne, Monique-"Charles Simonds, prima materia", Art Press,Paris, France, No. 120, December 1987, p. 66.Davis, Anna Byrd- "Little Bricks", Menphis Press-Scimitar,December 4, 1982.Deak, Edit-"Vernacular Myth", Art-Rite, New York, USA,No. 6, summer 197 4, pp. 9-11 .Deecke, Thomas-"Die Ruinenlandschaften Charles Simonds",Kunstmagazin, No.2, 1978, pp. 68-71.Desmoulins, Christine- "Les 'Petits Peuples' de Charles Simonds",O'Architectures, December 1994.Driscoll Jr., Edgar J.-"Back to Nature", ART news, New York, USA,vol. 73, No.7, September 1974, pp. 80-81.Dustin, Jo- "Les Constructions Mythiques", Art et Culture,January 1995.Francblin, Catherine- "Charles Simonds batisseur de ruines", ArtPress, Paris, France, No. 45, February 1981,pp. 14-15.-"Charles Simonds, Galerie Maeght-Lelong",Art Press, Paris, France, October 1986, p. 78.Frisach, M.- "Charles Simonds porta a Barcelona Iacivilitzaci6 imaginaria dels Little People", Avui,Barcelone, Spain, April26, 1994, p. 42.Froyd, Susan-"Follow the Yellow Brick Road", West word,October21-27, 1999.Gibson, Michael- "Baudoin Lebon Gallery, Paris; exhibit",ART news, New York, USA, vol. 79, No. 1,January 1980, pp. 121-122.-"The Small World of Charles Simonds",International Herald Tribune, January 7-8, 1995.Glueck, Grace-"Charles Simonds 'Houseplants'",The New York Times, February 5, 1 ggg,Goldberger, Paul- "A Meeting of Artistic Minds", New York T1mesMagazine, New York, USA, March 1st. 1981 ,pp. 70-73, 80.Hohmeyer, Jurgen- "Fur kleine Leute", Der Spiegel, No. 47,November 21, 1977, pp. 228-233.Hullenkremer, Marie- "Hauser aus Ton fur ganz kleine Leute", Art,Das Kunstmagazin, 1983, pp. 98-103.Huser, France- "De New York a Menilmontant", Le NouvelObservateur, Paris, France, November 24,1975, p. 84.-"Charles Simonds, le batisseur de reves",Le Nouvel Observateur, January 12-18, 1995.Hushet, Stephane- "Charles Simonds", ArtPress, March, 1995.Jochimsen, Margarethe-"Kunst als soziale Strategie", KunstforumInternational, Cologne, Germany, No. 27,March 1978, pp. 72-99.Jonas, Gerald-"The Talk of the Town: The Little People", TheNew Yorker, New York, USA, vol. 52, No. 40,November 22, 1976, pp. 38-40.Katz, Vincent-"Charles Simonds at Joseph Helman", Art inAmerica, September 1999.122

Kind, Joshua- "Charles Simonds: An art of consolationon an apocalyptic theme", New Art Examiner,February, 1982, p. 25.Kirshner, J.R.- "Museum of Contemporary Art, Chicago,Illinois", Artforum, New York, USA, vol. 20,No.9, May 1982, pp. 89-90.Knight, Christopher- "Some recent art and an architecturalanalogue", LAICA Journal, No. 17, January­February, 1978, pp. 50-54.Koniger, Maribel-"Charles Simonds", Kunstforum, May-July 1995.Kramer, Hilton- "An Artist Emerging From the 60'sCounterculture", The New York Times,December 13, 1981, pp. 39, 43.Kuspit, Donald-"Review: Charles Simonds," Artforum,November 1994.Larrea Garcia, Susana-"Charles Simonds", Be/art, No. 7, 1994, p. 17.Larson, Kay- '"Interventions in Landscape': Earth Art at MIT",The Free Paper, Boston, USA, May 1st, 197 4,pp. 24-25.Lascault, Gilbert- "Villes miniaturisees", XXe Siecle, Paris, France,No. 47, December 1976, pp. 131-135.- "Apprendre a habiter'', La Quinzaine litteraire,No. 307, August 1st-31, 1979.- "Reflections autour des argiles de CharlesSimonds". Panorama du Medecin, January 17,1994.Leenhardt, Jacques- "L'urbanisme parallele de Charles Simonds",La Gazette de Lausanne, Lausanne,Switzerland, January 31, 1976.Leveque, Jean-Jacques- "Deux sorciers du temps present",Le Quotidien de Paris, Paris, France,November 24, 1975.-"Charles Simonds: un archeologue a Lilliput",Le Ouotidien du Medecin, January 27, 1995.Leveque, Jean-Jacques and Verlomme,Hugo- "Une reflexion sur un avenir possible : CharlesSimonds", Les Nouvelles Utteraires, Paris,France. November 24-30, 1975.Linker, Kate-"Charles Simonds' Emblematic Architecture",Artforum, New York, USA, vol. 17, No. 7,March 1979, pp. 32-37.-"An Anti-Architectural Analogue", Flash ArtInternational, No. 94-95, January-February,1980, pp. 20-25.Lippard, Lucy R.-"A is for Artpark", Art in America, New York,France, vol. 62, No. 6, November-December1974, pp. 37-38.-"Art Outdoor, In and Out of the Public Domain",Studio International, vol. 193, March-April,1977, pp. 83-90.-"Complexes: architectural sculpture in nature",Art in America, New York, USA, vol. 67, No. 1,January-February, 1979, pp. 86-88.- "Public Sculpture: The Pursuit of thePleasurable and Profitable Paradise", Artforum,New York, USA, March 19, 1981, pp. 64-73.- "Public Sculpture II: Provisions for theParadise", Artforum, New York, USA, summer1981, pp. 37-42.Lipper, Hal- "Seen any Little People? Tell them their homesare ready", Dayton Daily News, Dayton. USA,May 24, 1978, pp. 1. 6.Lober, Hermann- "Von Zukunft und Ursprung, Nikolaus Lang,Charles Simonds in Munsters Lunstverein",Munstersche Zeitung, Munster, Germany,March 22, 1978.Lyon, Christopher-"Charles Simonds: A Profile", Images andIssues. Santa Monica, USA, vol. 2, No. 4,spring 1982, pp. 56-61 .Marin-Medina, Jose- "Una propuesta de culture arquitect6nica",lnformaciones, Madrid, Spain, November 4,1982, pp. 26-27.Markoutsas, Elaine- "A Franck Lloyd Wright of Lilliputian dwellings",Chicago Tribune, Chicago, USA, May 12,1975, p. 19.Mayer, Rosemary-"Charles Simonds at Artists Space",Art in America, New York, USA, vol. 63, No. 3.May-June 1975, pp. 91-92.McCaslin, Walt-"His work's in ruins-they're his specialty",Journal Herald, June 1st, 1978, p. 28.McConathy, Dale- "Keeping Time: some notes on Reinhardt,Smithson and Simonds", Artscanada, Toronto,Canada, vol. 32, No. 198-199, June 1975,pp. 52-57.Metken, Gunter- "Charles Simonds". Suddeutsche Zeitung,January 21, 1976.Mohal, Anna- "Kbrper Erde", Neue Bildende Kunst,February-March, 1995.Moore, Alan- "Review: Charles Simonds at Artists Spaceand 112 Greene Street". Artforum,New York, USA, vol. 13, No. 7, March 1975,pp. 71-72.Morgan, Ann Lee- "Chicago Letter. Charles Simonds", ArtInternational, Lugano, Switzerland, vol. 25,No. 5-6. 1982, p. 95.Nuridsany, Michel- "Les villes minuscules de Charles Simonds",Le Figaro, January 10, 1995.Ohff, Heinz- "Utopie im Liliput-Format", Der Tagesspiegel,Berlin, Germany, May 4, 1979, p. 5.Palfrey, Sue- "The Landscapes of Charles Simonds",The Oberlin Review, Oberlin, France,October 24, 1972, p. 5.Paradas, Ch.- "Le jeu de Paume et l'h6pital", Le Journal deNervure, December-January, 1995.Patton, Phil-"The Lost Worlds of Little People", Artnews,New York, USA, February 1983, p. 87.Pellet, Christophe-"Charles Simonds en immersion", La Cote desArts, January-March, 1995.Piguet, Philippe- "La Terre Rituelle et Nourriciere", La Croix,December 30, 1994.Pinte, Jean-Louis-"Charles Simonds: Ne de Ia Terre",Figaroscope, January 11-17, 1995.Pohlen, Annelie- "Eine Utopie, die herausfordert", BonnerStadtazeiger, Bonn, Germany, April 19, 1978.- "Ausbruch auf die Strasse: Die kleinen Weltenvon Charles Simonds in Bonn", Kultur, No. 20,May 18, 1978, p. 25.-"Interview mit Charles Simonds", Heute Kunst!Flash Art, No. 24, January-February, 1979,pp. 16-17.Pradel, Jean-Louis-"Simonds, l'homme aux mains d'argile",L'Evenement du Jeudi, January 12-18, 1995.Quintana, Nuria- "Los laberintos y piramides de Simonds, enBarcelona", El Pais, Madrid, Spain, April 29,1994, p. 42.Ratcliff, Carter-"On Contemporary Primitivism", Artforum,123

New York, USA, vol. 14, No. 3, November1975, pp. 57-65.- "Notes on Small Sculpture", Artforum,New York, USA, vol. 15, April 1976, pp. 35-42.Raynor, Vivien-"Art: 'Circles' and 'Age' From Charles Simonds",The New York Times, September 23, 1983.- "Art: Show in Jersey City Focuses on TerraCotta", The New York Times, New York, USA,August 27, 1984, p. C12.Restany, Pierre- "Little People: Omuncoli, les demeures deCharles Simonds pour un peuple imaginaire",Domus, Milan, Italy, No. 555, February 1976,pp. 52-53.- "l.Jmmagine del Nostro Destino", Domus,Milan, Italy, No. 610, October 1980, pp. 2-7.Richard, Paul-"Invasion of The 3rd Dimension",The Washington Post, Washington, USA,Panorama, publication of the Fundaci6n "IaCaixa", Barcelona, Spain, May 1994, p. 5.Shapiro, Babs- "Architectural References, The Consequencesof the Post-Modern in Contemporary Artand Architecture", Vanguard, Vancouver,Canada, vol. 9, No.4, May 1980, pp. 6-13.Sischy, Ingrid-"Review of Individuals", Print Collectors Newsletter,vol. 8, No.2, May-June 1977, p. 47.Smith, Roberta- "In Quiet Corners, a Rhapsody for Eyes andSoul", The New York Times, January 1st, 1999.Spies, Werner- "Geisterstadte des Unbewufsten", FrankfurterAllgemeine, February 4, 1995.Stevens, Mark-"The Dizzy Decade", Newsweek, New York,Los Angeles Times, Los Angeles, 1982,pp. 92-93.Winter, Peter- "Charles Simonds in Bonn, Nisplatze fur diePhantasie der Stadtbewohner", FrankfurterAllgemeine Zeitung, Francfort, Germany,April 26, 1978.- "Erde ist Urbaustoff des Menschen, Du, Zurich,Germany, May 1978, p. 14.- "Schwebende Stadte und andere Architekturen:Stadtisches Kunstmuseum, Bonn;Ausstellung", Pantheon, No. 36, October 1978,pp. 357-358.Zevi, Elizabeth- "Micro-Paesaggi d'architecttura", Casa Vogue,No. 146, November 1983, p. 246.General (selection) I General(selection)Hans-Jurg Braun, Zurich, Germany, 1987,pp. 217-250.Montangero, Jacques- Genetic Epistemology: Yesterday and Today(Pro Helvetia Swiss Lectureship, 3},New York, USA, The Graduate School andUniversity Center, 1985, pp. 4-5.Ruhrberg, Karl- Kunst im 20. Jahrhundert. Das MuseumLudwig-K61n, Auswahlkatalog. Stuttgart,Klett-Cotta, Germany, 1986, pp. 41, 268-270.Selz, Peter- Art in our Times, A Pictorial History 1890-1980,New York, USA, Harcourt Brace Jovanovitch,Inc./Harry N. Abrams, Inc., 1981, p. 533.Sky, Alison and Stone, Michelle- Unbuilt America, New York, USA, McGraw-HillBook Co., 1976, pp. 218-221.June 5, 1980, pp. D1, D13.Russell, John- "An Unwanted School in Queens Becomesan Ideal Art Center", The New York Times,New York, USA, June 20, 1976, p. 41.- "Intimations of Catastrophe",The New York Times, New York, USA,March 20, 1977.- "Art: 'Contemporary Sculpture' at Modern",The New York Times, New York, USA,June 15, 1979.Santacreu, Elisabeth- "Le reve architectural de Simonds", Le Parisien,January 5, 1994.Saulnier, Emmanuel- "Des lutins dans Ia ville", Liberation, Paris.France, December 9, 1975.-"Charles Simonds: habiter New York",Opus International, Paris, France, No. 65,winter 1978, pp. 30-33.Schiess, Robert- "Wenn aus dem Museum Baume wachsen",Nordschweiz Basler Volksblatt, Basel,Switzerland, June 11, 1985.Schneider, Emmanuel- "Les Lilliputiens de Simonds", L'Express, Paris,France, December 8-14, 1975, p. 35.Schnierle, Barbara- "Trauml6cher und Traditionen", Tip Magazin,USA, vol. 93, No. 13, March 26, 1979,pp. 88-94.Tiberghien, Gilles A.- "'Sculptures inorganiques,' Land Art etarchitecture", Cahiers du Musee national d'Artmoderne, Paris, France, No. 39, spring 1992,pp. gs-115.Uberquoi, Marie Claire- "Arqueologias imaginaries", El Mundo, April 29,1994, p. E/4.Ulmann, Jean-Michel-"La decouverte de Micropolis", Impact MedecinHebdo, January 20, 1995.Vedrenne, Elisabeth- "Charles Simonds. Memoire d'une architectureperdue", Decoration internationale, Paris,France, No. 93, September 1986, p. 132.Vian. (Vitalino Conti)-"Mini archeologie di Charles Simonds", CarriereMercantile, Genoa, Italy, December 5, 1975, p. 6.Vincent-Heugas, Gilles-"Charles Simonds: therapie de groupe",Panorama du Medecin, January 17, 1994.Volfin, Marie-Claude- "Une mystique sexuelle", lnfos Artitudes, No. 3,December 8-14, 1975, p. 4.Wallach, AmeiArnasson, Harvard H.- History of Modern Art. Pa1nting, Sculpture,Architecture, Photography, New York,USA: Harry N. Abrams, 3rd edition, 1986,pp. 580-581' 584, 651 ' 937-938.Beardsley, John- Art in Public Places: A Survey of CommunitySponsored Projects Supported by theN.E.A., Washington, USA, Partners for LivablePlaces, 1981.- Earthworks and Beyond. Contemporay Artin the Landscape, New York, USA, AbbevillePress, 1984, pp. 50-57,110-118.Garraud, Colette- L'ldee de nature dans !'art contemporain,Paris, France, Flammarion. 1994, pp. 25, 27,77, 78, 86.Joachimides, Christos and Rosenthal,Norman (ed.)-American Art in the 20th Century, Munich,Prestel Verlag, Germany, 1993, pp. 137-138.Lippard, Lucy R.- Overlay: Contemporary Art and the Art ofPrehistory, New York, USA, Pantheon Books,1983, pp. 56-58, 98-99, 148-149, 233-238.Manhart, Marcia and Tom (ed.)- The Eloquent Object, The Evolutionof American Art in Craft Media Since 1945,Tulsa, USA, The Philbrook Museum of Art,1987, pp. 240-254.Sondheim, Alan (ed)-Individuals: Post-Movement Art in America,New York, USA, E.P. Dutton & Co., 1977,pp. 290-311.Zelanski, Paul and Fisher, Mary Pat- The Art of Seeing, Englewood Cliffs, PrenticeHall, USA, 1988, pp. 375-424.Films I Films- Birth, 1970Realized with Rudy Burkhardt16 mm, color, 3'- BodyEarth, 1971Realized with David Troy16 mm, black and white, 11'-Dwellings, 1972Realized with David Troy16 mm, black and white, 11'- LandscapesBodyDwelling, 1973Realized with Rudy Burkhardt16 mm, color, 7'- BodyEarth, 1974Realized with Rudy Burkhardt16 mm, color, 3'-Dwellings Winter, 1974Realized with Rudy Burkhardt16 mm, color, 13'No. 10, 1979, pp. 36-37.-"Once Again It's Potpourri Time at the Whitney",Semin, Didier- "Entretien avec Charles Simonds",Beaux Arts, Paris, France, No. 39,October 1986, pp. 26-31.Servia, JosepmiquelThe Arts, February 27, 1977, pp. 11-15.Weiss, Hedy-"Primal Architecture", Portfolio, vol. 4, No.6,November-December 1982, pp. 84-86.Wilson, WilliamMetken, Gunter- Spurensicherung, Cologne, DuMont Verlag,Germany, 1977, pp. 77-80.Meyer, Franz- "Utopie in der Kunst- Kunst als Utopie",in Utopien - Die Moglichkeit des Unmoglicher,-Niagara Gorge, 1974Realized with Emil Antonucci16 mm, color, 13'- "La retrasada infancia de un escultor" (interview),-"Simonds: Small, Small World in Regression",Zurcher Hochschulforum, vol. 9, ed. by124

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Remerciements I AcknowledgmentsLa Galerie Enrico Navarra tient a exprimer sa profonde gratitude a Charles Simondspour son enthousiasme et !'interet qu'il a porte a Ia preparation de cet ouvrage.Qu'il soit assure de notre amitie fidele et reconnaissante.Nous adressons nos sinceres remerciements aM. Werner Spies pour son essai et leregard toujours neuf et plein d'interet qu'il porte au travail de cet artiste.Nous tenons a remercier tout particulierement M. Jean-Louis Prat pour Ia sincerite deson temoignage.Nous sommes particulierement reconnaissants a taus ceux qui nous ant aides dans!'elaboration de cet ouvrage, en particulier les collectionneurs. Que taus acceptent ici cetemoignage de notre gratitude.The Enrico Navarra Gallery would especially like to thank Charles Simonds for hisenthusiasm and who has been of great support in the preparation of th1s catalogue.May he is assured of our friendship and our deep gratitude.We would like to extend our sincere thanks to Mr. Werner Spies for his essay and for theever fresh way he looks at and the interest he demonstrates for this artist's work.We would especially like to thank Mr. Jean-Louis Prat for the sincerity of his testimonyWe are particularly grateful to all those who have help us in putting this cataloguetogether, in particular the collectors. May they be assured of our gratitude.

Edite par I Published by: Galerie Enrico NavarraConcept I Layout: Sophie DupriezDirecteur d'edition I Editing Manager: Nathalie Prat-CouadauResponsable d'editionl Editing Manager: Geraldine Pfeifer-LevySuivi editorial I Follow edition: Emmanuelle ChapoulieAssistante I Assistant: Lumir Ardant-LeverdCoordination I Coordination: Gael ParraviciniCoordination presse I Press Coordination: Sebastien MoreuTextes I Texts: Jean-Louis Prat, Werner SpiesTraduction I Translation: Christine Destruhaut, Vivian RehbergCredits Photographiques I Photographic Credits: Rudolph Burckhardt.Centre Georges Pompidou, Erma Estwick, Jacques Faujour, Jean-Pierre Godeaut.David Heald, Holman, Lucy Lippard, Matta-Ciark, Andre Morain, Howard Nathanson,Charles Simonds, Bruce White, Dorothy Zeidman, Zelanski I FisherPhotogravure I Photoengraving: Litho Art New, ltalie I Italylmprime en italie I Printed in ItalyNo ISBN: 2 -911596-27-7N° EAN:9782911596278© 2001, Galerie Enrico NavarraTous droits reserves I All rights reservedLegendes I Captions:Pp. 6-7 : Dwelling, detail I detail, East Houston Street, New York, 1972Pp. 24-25: Trunk, detail I detail, 1993, 213,5 x 33 x 33 em, argile et bois/ clayetwoodl 84 x 13 x 13 inchesPp. 96-97 : LandscapeBodyDwelling, 1972Pp. 11 4-115 : Charles Simonds travaillant I working, 1983