Passage: la scultura di Jean Paul Lagarrigue per Art en Capital 2017

Tablinum: un abbraccio dolce e malinconico accompagnato da un tenero bacio, con la terribile consapevolezza di una madre che per l’ultima volta stinge fra le braccia le spoglie mortali dell’amato figlio.

Che ritorni o no dalla morte, egli sarà altra cosa dal figlio mortale, bambino e poi uomo cresciuto e amato da Maria con l’intensità e la forza straordinaria di qualsiasi madre della terra costretta, ai piedi della croce, ad assistere inerme allo spegnersi della vita di quel figlio amato incommensurabilmente per un’esistenza intera:

Piango di lui ciò che mi è tolto,
le braccia magre, la fronte, il volto,
ogni sua vita che vive ancora,
che vedo spegnersi ora per ora.
Figlio nel sangue, figlio nel cuore,
e chi ti chiama – nostro Signore –
nella fatica del tuo sorriso
cerca un ritaglio di Paradiso.

Per me sei figlio, vita morente,
ti portò cieco questo mio ventre,
come nel grembo, e adesso in croce,
ti chiama amore questa mia voce.

da F. De Andrè – Tre Madri

Ai nostri occhi questi due personaggi immortalati nel granito da Jean Paul Lagarrigue hanno perso qualsiasi vestigia di divinità e hanno assunto il connotato universale di una madre che stringe nel disperato e appasionato abbraccio estremo il proprio figlio. Un gesto desolante che accomuna Maria a tante, troppe, madri di tanti, troppi, figli immolati sull’altare del mondo.

Passage è un soggetto estremamente coinvolgente che emerge con tutta la sua forza emotiva dal granito blu del Brasile e paralizza lo spettatore dinanzi allo spettacolo tragico della vita che si fa morte e della carne che si traduce in pietra.

Il taglio diretto sulla pietra, non ha avuto bisogno di disegni preparatori: con mano sicura l’artista ha lasciato che dalla pietra emergesse questo gruppo marmoreo di intensità estrema: scolpiti con un rigore quasi gotico, i lineamenti del Cristo sono immortalati nel loro ultimo spasimo, nel passaggio alla vita ultraterrena; dai panneggi severi del velo emerge il volto di una giovane madre che si tende, dolce e disperata al contempo a baciare il figlio per l’ultima volta, sussurando una frase di commiato mentre l’ultimo respiro scivola via dalle amate labbra. Un abbraccio protettivo e al contempo serrato, scolpito nel marmo.

L’opera di Jean Paul Lagarrigue, Passage, sarà presentata in esclusiva presso lo stand E7 di Tablinum Cultural Management in collaborazione con Artistes Indépendants dal 14 al 19 Febbraio 2017 presso il Grand Palais di Parigi.

ac17


JEAN PAUL LAGARRIGUE

jean-paul-la-garrigueJean Paul Lagarrigue dal  2010 al 2012  ha realizzato  nel corso di un workshop  sette studi scultorei con altri scultori
Dal 2012 al 2015 ha lavorato presso il proprio atelier numerose sculture in autonomia presso il suo studio.

Nel corso degli anni ha raccolto 14 partecipazioni a fiere ed esposizioni internazionali.

THE FIVE SOULS OF SCULPTURE III

“Sculpture, like all art, is a means for discovering the world and understanding its secrets”

(Olivier Delahaye, Le Ventre lisse, 2005)

How many declinations does art know? Among all possible nuances employed by an artist in order to shape his vision of the world, we have tried to analyse the ways by which the perceptions of the five sculptors unfold.

Five artists: by no means a random number. It is a highly symbolic and evocative number which, since ancient times, is associated with experimenting, with the concrete knowledge of facts, with transformation, with the “changing aspects” of a situation.

The ancient Greeks associated this number with Hermes, the messenger of the Gods, the connection between sky and earth. Five are also the human senses which serve as a compass to the human being through his life: from an emotional, mental and physical point of view to an ever-changing condition.

Number five is the symbol for a polymorphic mind, which is constantly devoted to intelligence and curiosity and has the tendency to reach extreme limits and transgressive boundaries, sometimes in dangerous ways.

Number five is associated with the fifth letter of the Hebrew alphabet: “Hey” (ה) which means intuition and illumination. The Kabbalists identify three stages in the letter “Hey”, based on three different, subsequent levels, regarding the development of human awareness throughout one’s life.

The mystery of birth and the complete unawareness in which the human being is “flung” into this world, are overcome by the enthusiastic discovery of the beauty and richness existing in the world around us. We thus succeed in understanding that mysterious power within our lives which drives us beyond existing reality.

We should not forget that this number withholds the power of self-expression. In fact, the physical components corresponding to our ability to speak are exactly five: tongue, teeth, palate, lips and throat. Indeed, the complex interaction between the intellect and word is precisely what allows the number five to indicate the usage of every kind of inner and external discipline in order to shift our personality from a state of uneasiness and a search for an “aliquid” to a desired condition. Only by mastering communication, the formulation of ideas and feelings together with the expression of facts, can a balanced exchange and personal development be achieved.

Such intense symbology is to be found in the various forms of the works presented by these five sculptors. Harmony and contrast, research and sublimation merge in their works.

Sculpture represents the concrete attempt to shape the world around us and, at the same time, to infuse it with perceptions, which impress the human soul in the most powerful way. By offering their personal interpretation and their acute analysis of their own senses, each of the five artists is transformed into a “privileged medium”.


THE  FIVE  SOULS OF SCULPTURE – III° EDITION

THE ARTISTS

Risultati immagini per alexandra slava sevostianovaAlexandra Slava Sevostianova, is the youngest of the artists selected for this third edition. Hers is a career of promising success: at the age of only twenty, She has already achieved important acknowledgements among which that of the Art Renewal Center and her works have already been on display in private collections in Ukraine, Malta, France and Italy.

She will exhibit four works at The Five Souls of Culture in which, in accordance with anatomical rigour, reflecting a classical perfection, the artist’s strong sensitivity is based, and who knows how to look beyond the circumstances by gliding on the wings of her own emotions.

Her sculptures manifest themselves by the struggle in which the artist engages in favour of beauty and truth countering the triviality of everyday life. Precisely this desire to free herself from shameful daily things in the name of a greater ideal is the primary inspiration of “Call for Angels” a sculpture which is a programmatic manifestation of the emotions which thrust the artist towards the creative act.

“My Ukraine” is a tribute to her native country, held tight in the in the coils of serpents which have not managed to bend its strength and which is ready to resurrect even more beautiful than before. “The Unbearable Lightness” expresses all the unsustainable irresponsibility in many amorous relationships, experienced in the ups and downs of daily life, but does not want abandon the desire to sublime oneself in an eternal and incorruptible feeling. “Take My Pain Away” is a self-portrait in which the artist does not hesitate to expose herself to the spectator, in all its own inner fragility.

 

Risultati immagini per cecilia martin birsa

Cecilia Martin Birsa says she cannot live with art – “without it I could only survive”.

It is precisely this unrenounceable urgency, such as breathing, which             emerges in her sculptures. They are realized with an unusual medium which surprises us for its simplicity and its form that the sculptress manages with  great effort  to create: The stone of rivers with all its atavic unpredictability which “speaks of magma, abysses, ice and earth”.

Medium such as mucronite, granite or serpentine require a real act of maieutics in order to free those forms which await in a state of drowsiness, which endured hundreds, perhaps thousands of years to reawaken.

Cecilia Martin Birsa will propose three of her works at The Five Souls of Sculpture which were hailed as a great success on the occasion of her latest personal exhibition in Venice at the Rosenberg Gallery, which coincided with the 5Th. centenary of the Venetian Jewish Ghetto: “Arcuata”, “Donna allo Specchio” and “Nodo Nero”.

 In these sculptures, the artist manages to liberate from stone forms of atavic sensuality of her own female universe, which reveals itself to be solidly bound to that arcane and inexhaustible mystery that is life and which is reached through everything that revolves around it.

 


 

teresa conditoHer artistic development may be witnessed in her creation of sculptural volumes in a more  efficient and expressive communicative form.

The works on exhibit at The Five Souls of Sculpture eloquently express a phase of strong artistic inspiration from whose emotions new creative solutions emerge. Thus works             like “Black and White”, “Thrill” and “Metamorphosis” are born.

They are small sculptures formed in plexiglass in which the transparency of the material integrates with desired abstract forms and colours which contrast with each other, as it is possible to admire the two faces of the sculpture in an emotional short circuit which reflects the artist’s strong artistic emotionality as well as the continuous state of metamorphosis in which she exerts her own sensitivity by means of the creative process.


Risultati immagini per roberto piaia

Roberto Piaia has always represented the female soul  infusing in his pictorial and sculptural works The teachings of strongly innovative techniques by the ancient masters, fruit of his studies and constant experimentation, which make him an authentic pioneer.

Mr Piaia, creator of the Assurfivo pictorial technique, officially entered the Aristocracy of Italy’s finest artists in 2009, having been awarded the AIC (High Critical Interest) classification by the Modern Art Catalogue Critical Committee which is edited by Mondadori.

He exhibited at the 54th. Biennale of Venice – Italian pavilion in 2011 and officially presented his first Carrara marble statue “Iris” together with an oil painting entitled “Darya in Cladico”.

His research has brought about a re-elaboration in the sculptural sector of an artistic Ideology in which the classical unites with dynamicity.  His sculptures therefore represent, at the same time, both pictorial and sculptural elements.

His sculptural creations are realized by employing statutory marble or a bronze fusion. While maintaining the female figure as the subject of his inspiration, the body mass is composed of a double propeller which rotates around itself, thus creating a spiral.

Mr. Piaia will present at the Five Souls of Sculpture his works “Mudra” and “Oltre in Bronzo” one in bronze and the other in an alloy of bronze and steel, the result of personal studies and experimentations. In “Mudra”, Mr Piaia transposes on the sculptural level his own Assurfivo concepts which fuse inseparably representations which we only discover are apparently incompatible: the figurative realism of face and hands separate themselves from the classical academic composure into the spiraling volume of the body,  in which the forms recall typically surrealistic concepts dominated by mystery and fantasy.

In “Oltre in Bronzo” the concept of lightness and material decomposition are underlined by the transposition of the female body into a double propeller in which the execution borders on the utopia in “a Machiavellic study of solids and voids”

 

Risultati immagini per pablo atchugarry

Pablo Atchugarry divides his time between Uruguay, his native country, and Italy where he has been living since 1978. Since the beginning of his career he has dedicated his artistic sculptural research by expressing his own poetic talent by means of various materials: he first worked with cement, wood and metals until he later used Carrara statuary marble with which he has created his famous monumental sculptures.

Once he moved to Lecco (Italy) in 1978, he began experimenting and creating monumental sculptures in Carrara marble. His first tribute could not be other than to Michelangelo Buonarroti with two works: “La Lumiere” and “La Pietate”.

He, already an artistic icon in Uruguay,created the sculpted group “Soñando la Paz” on  the occasion of the 50th Exhibition La Biennale in Venice.

 In 2015 he presented 40 of his works at a personal “Pablo Atchugarry – Città Eterna, Eterni Marmi” exhibition at the Fori Imperiali Museum in Rome. He also created a sculpture engraved in olive wood, which was more than 800 years old, for the Uruguayan pavilion at Expo 2015, entitled “La vida después de la vida”.

On the occasion of The Five Souls of Sculpture exhibition, he will present his latest creation “Senza Titolo” in Carrara statuary marble.

Pablo Atchugarry’s chisel touch transforms marble in such a way that it seems to open up into candid folds, which change and are at the same time crystallized, thus indicating the apparent slow passage of Art, so typical of immortal creations.  Essential and pure forms are the language of this work which, void of a title decided by the artist, leaves the spectator free to interpret it within a range between signifier and signified.

 

2016 - Statuary Carrara marble h 60.5x30x22 cm Untitled.jpg

Untitled, Statuary Carrara marble, h 60.5x30x22 cm, 2016

 

 

 

 

 

 

 

 

The inner worlds of the women translated in sculpture’s masterpieces

Tablinum: certain works of art, as in a mirror, give us not only the external reality of things but also their inner life with all its complex asymmetries and dysmorphic evolutions. This happens with sculptures of the Dutch artist Mieke Van Den Hoogen – Huijgen.

Returning from her last New York expo, which ended in June, Mieke Van Den Hoogen – Hujigen presents to the public of Villa Carlotta a series of ceramics.

These works are inspired by the archaic vases, full of tribal references, made according to ancient Indian and African processing techniques.

Mieke in them combines their artistic feeling with the atavistic impulse of the clay modeling in order to create shapes reminiscent of daily life.

In some sculptures, like Castle, the roughness of the clay is approached to the intensity of the primary colors. In sculptures like Castle, the roughness of the clay is approached to the intensity of the primary colors

It creates a blackout between the highly innovative shape and the reference to arcane gestures that are reinterpreted by a genuine taste of shaping the clay no longer undergo the rigor of a creative process in which the ultimate purpose is the creation of a tool for a daily use.

The common thread with the tradition is interrupted here and it is triggered the creative process of the artist with her own free will to play with shapes and color.

The inner asymmetries is the concept behind the series of female torsos, in which is transposed all the feminine sensibility of an interiority fragmented and prey to conflicting emotions.

We can notice this well in such works as  Fixed or series of the female bodies in which we find busts or woman faces fragmented and held together by ropes and string.

The attempt is to reconstruct an identity shattered, or to contain an irrevocable epilogue that underlies a careful autonalisi’s own self.

The raw material is always the clay, with its malleability and adaptability, that technique is well suited to e represent the continuous evolutions of  the interiority.

The women’s bodies, here shaped into a bust of classical composure, are fragmented and, often, the pieces are held together by ropes and wires in order to represent the infinite and contradictory lacerations.

Atavistic symbol reveal a  symbolic language: golden snakes flowing on a woman’s body in order to evoke the most sinful of the unions or, in some sculptures, the color itself becomes the object of a true metamorphosis that, starting from the shade of color,  gives way to scales reptile … lust and sin are hereby confirmed as the oldest and sinful combination that has ever existed.

We would like to ask to Mieke some questions about her sculptures and poetry that pushes  artist  to create new works of art.

– About your artistic career: there was one particular moment or reason that led you to start?

Before I had an education in art, the academia, I made a study in physiotherapy. This study confronted me with mem, women and children with disabilities I never heard and seen. This made a deep impression on me , I never forgot.
After I failed the last exam I wanted to do something diffrent.  I was painting for a long time and I dicided to begin an education in art, becoming a art- teacher. But when I finnished there was no place at all at any school. Then I became mother and I stayed at home for 10 years, in the village we lived was nocreche. After that I wanted to workand to start I followed a new education, in  ceramics.

– In your works we find continually recalls to the feminine world. Could you explain what are the emotions that push you to the realization?

 The education in physiotherapy  was the direction of the interest of my later work, I could not loose what I saw in my first study.

That is why I am making  fragile women. Women, because I can immagine how it feels to be a woman. I hope I can feel the inner world of a woman. The fragility you can only create when you are building with clay, not when you are carving like a sculptor, building with peaces of clay is a big risk because the clay must be half dry and it breaks often.

– How do you combine your technique of pottery  with your poetry?

 For me it is challenge to make objects as thin and as great as passible without breaking the piece of clay. I like to use all kind of colours and structures, even sand and ashes. But I also use lace topress it in the clay, using my fantasy by working.

– Ceramic is a sculptural technique “per via di porre” as written by Leon Battista Alberti. Do you never experienced the creation through technical “per via di levare” ? Have you noticed any differences in your performance and poetry?

 You can make the skin of the clay more expressive when you are building instead of carving.

– A few months ago you held a solo exhibition in New York. How was your experience of European artists exhibiting in the Big Apple? Have you noticed any difference in the public or in relationships with collectors?

There is a great difference by exposing in New York or in Europe.
The gallery in N.Y. did not want the more difficult work, the work that was placed had to breath joy and fun and be too emotional charged, so some works were refused.

This slideshow requires JavaScript.


Mieke Van den Hoogen Huijgen has focused on ceramics from 1987 to 1991 at the University of Maastricht.

Since February 1992 he founded his own studio in Elsloo and then moved to Nijmegen since 1997.

During her studies at the University of Maastricht her interest was focused particularly on ceramics and about the expressive possibilities of the small fragment, where thanks to the lessons of Desiré Tonnaer (Maastricht) and Piet Hermans (Venray) she examined its  potential, especially in monumental objects.

She write about her works: a woman’s body fascinates me not because it represents an ideal of beauty, but rather because it is a representation of a body that is experienced, whose emotions are read in the way of presenting itself to the spectator.

What I want to express in my work is the asymmetric. This is why my sculptures are made of clay and the contents are expressed in fragmentary form “.

Mieke also realizes works similar to vessels, made according to ancient Indian techniques, they are sometimes painted with the help of the airbrush and sometimes made with a silkscreen decoration. These works represent all the artist’s creative freedom and joy that experimented freely for the sake of creating new forms and color gradients.

Elisa Larese


spazio105_009.jpgMIEKE VAN DEN HOOGEN – HUIJGEN focused her training on ceramics from 1987 to 1991 at the University of Maastricht.

Since February 1992 he founded his own studio in Elsloo and then moved to Nijmegen since 1997.

During her studies at the University of Maastricht her interest was focused particularly on ceramics and about the expressive possibilities of the small fragment, where thanks to the lessons of Desiré Tonnaer (Maastricht) and Piet Hermans (Venray) she examined its  potential, especially in monumental objects.

She write about her works: a woman’s body fascinates me not because it represents an ideal of beauty, but rather because it is a representation of a body that is experienced, whose emotions are read in the way of presenting itself to the spectator.

What I want to express in my work is the asymmetric. This is why my sculptures are made of clay and the contents are expressed in fragmentary form “.

Mieke also realizes works similar to vessels, made according to ancient Indian techniques, they are sometimes painted with the help of the airbrush and sometimes made with a silkscreen decoration. These works represent all the artist’s creative freedom and joy that experimented freely for the sake of creating new forms and color gradients.