Christo Parte II - Pagina 5
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  1. #41
    L'avatar di Alessandro Celli
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    Citazione Originariamente Scritto da Loryred Visualizza Messaggio

    Non conosco bene La Pietra, ma non mi sorprende la sua lettura dell'arte di Christo in base a sue interviste sulla trasformazione degli spazi pubblici, del resto si coglie la differenza tra l'impostazione di un "architetto/filosofo" rispetto alla vocazione di un artista che pone al centro l'effimero dell'opera, quasi a diventare illusionista.
    Ma lo sai Lory che quando il mitico Marte2 scrisse:
    "A quelli che "mi sono affacciato da poco sull'arte", poi ti parlano della biografia anche dell'ultimo artista della Papuasia..."

    mi sa proprio che si riferiva a Te?

  2. #42
    L'avatar di Loryred
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    Citazione Originariamente Scritto da artebrixia Visualizza Messaggio
    Ma lo sai Lory che quando il mitico Marte2 scrisse:
    "A quelli che "mi sono affacciato da poco sull'arte", poi ti parlano della biografia anche dell'ultimo artista della Papuasia..."

    mi sa proprio che si riferiva a Te?
    Troppa grazia... "Questo io non credo!!!" Solo una persona curiosa che deve ringraziare infinitamente voi e Vanoni per il "seme" che sto coltivando con entusiasmo, divertimento e passione. Avete riempito un "vuoto" fatto di noia televisiva e di mancanza di confronto con le persone che frequento abitualmente a cui dell'arte tutta interessa poco o nulla Ormai mi conosci, sai che non scrivo per compiacenza o piaggeria. Nel bene e nel male sono realmente quella che si è proposta qui con la più totale sincerità!

    P.S. Non preoccuparti delle reazioni di Acci, tanto lui ha negli occhi solo i suoi quadri esattamente come Paperone ha il $!

  3. #43
    L'avatar di Alessandro Celli
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    per Biagio:

    prego, puoi scegliere
    Immagini Allegate Immagini Allegate Christo Parte II-1.jpg 

  4. #44
    L'avatar di Biagio.tv
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    Beh, se posso scegliere allora prendo quello più grande
    Poi a saldare il bonifico ci pensi tu vero?

    PS. cmq quello grande in b.a.s. mi piacerebbe molto. Ombrelloni blu. Bello!!!

  5. #45

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    Interessante intervista! Disponibile nelle risposte e sempre molto simpatico



    From the very beginning of your career, you took your art beyond the gallery space.
    Can you tell us about how this desire to go into the public arena started?




    "I cannot exactly explain it. But you should understand where I was born, and where I’m coming from, and the way I studied. In 1957 I was visiting my relatives in Prague, after the Hungarian Revolution in 1956. Suffocated by the doctrine of Russia’s realism and control, I escaped to Austria. I became stateless for 17 years. I was a political refugee with no nation. I was so angry about my nonexistent place in the world—I didn’t belong to anybody.
    I escaped speaking only Bulgarian and Russian, not knowing any Western language. I was 21 years old. I had no money to survive [on], only what I earned from washing cars in garages and working in restaurants. I tried to do my art, and basically, I tried to communicate—not only in the art space with galleries and museums, but also with open spaces.
    Back in Bulgaria, for three years I had studied different art [at the National Academy of Art], including architecture, decorative art, painting, sculpture, et cetera. During your fourth year, you are supposed to decide what profession to take. I skipped my fourth year. All my life, I’ve not decided what I am. I am not a painter, a sculptor, nor an architect. I try to mix things.
    As an art student, I was assigned to go to the countryside, to farms all belonging to the state, to energize the landscape. The Orient Express was passing through at that time, the rail trains going from Paris to Istanbul. The Communist government was eager to demonstrate to Westerners that the landscape was very dynamic. We went and told the ranchers and farmers that they should keep everything very clean and organized. I was talking to farmers and workers, ordinary people not involved with art. All that is part of what I am doing today. I’m still talking to people who have not the slightest idea what art is, who are not interested in art. I enjoy that adventure."




    You moved to Paris and began your collaboration with Jeanne-Claude there in the late fifties. These first exhibitions in Cologne and Paris used barrels and wrapped objects, which are still part of your practice today—including “The London Mastaba” you just made for the Serpentine Lake.




    "You can see in the little sculptures I made in the late fifties. I was using the readymade, wrapping things in fabric and stacking barrels. The composition is very free—there are no rules. I was doing all this in a maid’s room, on the top floor of a typical boulevard house in Paris. There was no electricity, no water, no toilet. I had an exhibition in Cologne in 1961. The gallery was closed on Sunday and Monday, so Jeanne-Claude and I decided that we should do something outside near the gallery that people could see. The Port Authority gave us permission to do something temporary using the oil barrels and merchandise that was there. We wanted to say that that gallery extends into that open space.
    Then I went to Paris and proposed my poetical “Iron Curtain,” [which was] basically stacking barrels horizontally in the small streets in the Left Bank. The Berlin wall was built. The Suez Canal had been nationalized. The British planes and French were bombing, and everything was on the verge of collapse around the world. I was so scared that World War III was starting. We asked for permission to do the work, but we never really got an answer, so we did it anyway, in 1962.
    So it evolved from a very close, intimate space to suddenly expanding into the real world"





    Tell us more how you finance your artworks. Have you always been doing it this way?




    "The relationship between artists and gallery is a very loose one. The gallery has exclusivity with the artist, they keep the artist’s work, they organize exhibitions for the artist. In the traditional way, when the artist needs money, they borrow from the gallery, or the gallery says, ‘First, you need to give [us] more work.’
    Nobody was interested in my early works, and inadvertently we became the biggest owners of my works. We made an organization in Basel, and that became our art depot. In the late sixties, around the same time as the “Wrapped Coast,” in Australia, our lawyer from Chicago advised us that we should create an independent corporation. Not a nonprofit corporation, but a corporation created to build our projects, to sell our original works of art, and buy [them] back. It’s the - CVJ Corporation -, with my initials, Christo Vladimirov Javacheff. That corporation would create a subsidiary each time we did a project around the world.
    We were sitting on so many valuable artworks that we started to work with banks. They took collateral, and we rented money. Let me tell you a secret: For ten million in stand-by money, you pay only $150,000 in rent a year—if you don’t touch the money. It gives me the freedom not to undersell the work." …





  6. #46
    L'avatar di Biagio.tv
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    @tra-fuoco questa me la leggo stasera!

    Intanto condivido questa immagine dal sito di ArtVerona: c'è l'opera della Rotonda di Christo...

    Christo Parte II-slide_sezioni.jpg

  7. #47

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    Quello accanto a Christo e' Colombo?

  8. #48
    L'avatar di Biagio.tv
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    Si, Colombo di quelli con gli elastici.

  9. #49

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    Grazie Biagio....c' entra un po' poco Christo accanto a Colombo....

  10. #50
    L'avatar di AM-Art
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    Eh ma a Christo gli servirà pure qualche elastico per incartare i suoi pacchi.

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