Over the past twenty years, photography has undergone a dramatic transformation. Mechanical cameras and silver-based film have been replaced by electronic image sensors and microchips…
Tomás Saraceno is an artist and architect internationally known for his visionary and surprising installations accessible to the public and able to modify the perception of architectural spaces. His oeuvre, inspired by the tradition of 20th-century utopian architecture, stems from the desire to create aerial structures that can be inhabited by people, are self-sufficient and have a low environmental impact.
May 11- June 23
Each year MONUMENTA invites an internationally renowned contemporary artist to appropriate the 13,500 m² of the Grand Palais Nave with an artwork specially created for the event. This year the Indian-born British artist Anish Kapoor was invited to create “Leviathan”, an aesthetic and physical shock, an experience of colour that is simultaneously poetic, thoughtful and formidable, one on a scale with the verticality and light of the Nave.
Like the Biblical sea-monster of the same name, Anish Kapoor’s Leviathan embodies a sense of extraordinary, dark power. Leviathan is emblematic of death by drowning in the depths of the ocean, and a force capable of summoning giant waves and tempests. The great beast became synonymous with political metaphor following the publication of Thomas Hobbes’s classic text Leviathan in 1651, presenting the ‘war of every man against every man’ that inevitably prevails in humankind’s primordial ‘state of nature’.
Like his contemporaries, Christo rebelled against abstraction, seeing it as too theoretical and proposing in its place a manifestly physical art composed of real things. Christo began by wrapping everyday objects, including tin cans and bottles, stacks of magazines & furniture.
In 1961 he started collaborated with his wife, Jeanne-Claude, using industrial materials like polypropylene sheeting, canvas & ropes to wrap objects. The use of fabric sometimes involved wrapping an object, sometimes a bundle; these coverings partly obscured the object’s contours and hampered its function, thus transforming it into an aesthetic presence.
In 1964, just after moving to New York, this repertory of forms was augmented by a series of life-sized store fronts, for example Store Front (1964) the view through their plate-glass windows blocked by hanging fabrics or by sheets of paper stretched across their fronts, again rendering their function uncertain.