Galerie Enrico Navarra

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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
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 26 and 27: Ritual Place, 1970Argile et bois13
Page 28 and 29: Labyrinth, 1972Argile et bois30x63x
Page 31: 32Pyramid, detail I detail, 1972
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
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Maze, 1998 Maze, 1998Argile et bois
Page 87 and 88:
Houseplant no 2, 1998Houseplant No.
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Long Rocks, 2000Argile, platre et s
Page 92:
Sans titre, 2001Argile. platre et t
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Charles Simonds, 1950 «Rabbit Read
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Greene Street Dwelling, New York, 1
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••Excavated and Inhabited Railr
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Charles Simonds travaillant I worki
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«Dwelling•, Whitney Museum, New
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Desert en fleur, Nouveau-Mexique I
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Travaillant sur «Age .. I Working
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«Passage .. , 1989, Centre Georges
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Expositions I ExhibitionsExposition
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-"9th Biennale de Paris", Musee d'A
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charles simondsSculpture Since 1940
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Simonds), Cologne, Germany, Verlag
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Kind, Joshua- "Charles Simonds: An
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125
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Edite par I Published by: Galerie E
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Galerie Enrico Navarra

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