Galerie Enrico Navarra

More documents

Recommendations

Info

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
Page 2: Galerie Enrico Navarra
Page 8 and 9: Preface. Enrico NavarraForeword. En
Page 10 and 11: Le Monde dans le monde. Werner Spie
Page 12 and 13: of adventures. The Little People we
Page 14 and 15: eferential microsystems were in wid
Page 16 and 17: •LandscapeBodyDwellin9", 1970Char
Page 18 and 19: in which Raquel Welch accompanies A
Page 20 and 21: •Picaresque Landscape•, 1976, i
Page 22: I Remember... Jean-Louis PratI reme
Page 28 and 29: Labyrinth, 1972Argile et bois30x63x
Page 31: 32Pyramid, detail I detail, 1972
Page 34 and 35: elieved in a world entirelywould be
Page 36 and 37: Circles and Towers Growingno11, 197
Page 39: Dwelling, details, 1981Argile et bo
Page 44 and 45: Age, 1983Argile, platre et bois310
Page 47 and 48: Flying Smear, 1983Argile, bois et p
Page 49 and 50: Wilted Towers, 1984Argile et bois30
Page 53 and 54: Rocks no 1 , 1984Rocks No. 1, 1984T
Page 55 and 56: Stump, 1984Argile et bois35,5 x 61
Page 57 and 58: Pod no 2, 1984Argile et bois29,2 x
Page 60 and 61: Leaves, 1986Argile et bois15x61 x61
Page 62 and 63: Smear, 1986Argile et bois15,2 x 76,
Page 66: Rocks, 1988Rocks, 1988Spirit Rocks,
Page 69 and 70: Pyramid, 1991Argile, platre et bois
Page 71 and 72: Dwelling, 1991Argile et boisBriques
Page 73 and 74: Head, 1993Argile, platre et bois67,
Page 75 and 76: Tumbleweed, 1993Porcelaine20,5 x 20
Page 77 and 78:
I, Thou, 1993Argile et ciment37,5x2
Page 79 and 80:
Man and Fish, 1993Argile et bois25
Page 82:
82Growth House, detail I detail, 19
Page 85 and 86:
Maze, 1998 Maze, 1998Argile et bois
Page 87 and 88:
Houseplant no 2, 1998Houseplant No.
Page 90 and 91:
Long Rocks, 2000Argile, platre et s
Page 92:
Sans titre, 2001Argile. platre et t
Page 98 and 99:
Charles Simonds, 1950 «Rabbit Read
Page 100 and 101:
Greene Street Dwelling, New York, 1
Page 102 and 103:
••Excavated and Inhabited Railr
Page 104 and 105:
Charles Simonds travaillant I worki
Page 106 and 107:
«Dwelling•, Whitney Museum, New
Page 108 and 109:
Desert en fleur, Nouveau-Mexique I
Page 110 and 111:
Travaillant sur «Age .. I Working
Page 112 and 113:
«Passage .. , 1989, Centre Georges
Page 116 and 117:
Expositions I ExhibitionsExposition
Page 118 and 119:
-"9th Biennale de Paris", Musee d'A
Page 120 and 121:
charles simondsSculpture Since 1940
Page 122 and 123:
Simonds), Cologne, Germany, Verlag
Page 124 and 125:
Kind, Joshua- "Charles Simonds: An
Page 126 and 127:
125
Page 128:
Edite par I Published by: Galerie E
show all

Galerie Enrico Navarra

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?