Galerie Enrico Navarra

•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