Big Rock Candy Mountain New York 1995 - Michael Molter - Érudit
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Espace Sculpture
Big Rock Candy Mountain
New York 1995
Michael Molter
L’espace signifié
Semaphored Space
Number 34, Winter 1995–1996
URI: https://id.erudit.org/iderudit/9982ac
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Publisher(s)
Le Centre de diffusion 3D
ISSN
0821-9222 (print)
1923-2551 (digital)
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Cite this document
Molter, M. (1995). Big Rock Candy Mountain: New York 1995. Espace Sculpture,
(34), 43–45.
Tous droits réservés © Le Centre de diffusion 3D, 1995 This document is protected by copyright law. Use of the services of Érudit
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qui n'a d'autre but que le plaisir mesure et à la distance — et minutieuse, Mario Callens colore explorant l'origine du sens, les
mental et esthétique qu'il pro- dont la surface est constituée de et texture de petites surfaces où oeuvres de Mario Callens racon-
cure. Les signes y sont utilisés fragments de cartes géographi- l'on croit pouvoir reconnaître tent en sous-entendu et cons-
comme des éléments formels qui ques colorées à l'aquarelle et des sites. Mais en s'approchant truisent un espace fictif, un ordre
désignent l'arbitraire des corres- couvertes de résine polyester et de l'objet le spectateur est piégé, nouveau qui donne un sens à la
pondances entre le terme et de sable. Mis bout à bout les confronté à une surface sablée. production artistique et lui
l'objet. L'installation se lit mètres sont, ou bien fixés au La matière s'impose de telle assure une conscience critique. I
comme une représentation mur et au sol Ici, Maintenant & sorte qu'elle refoule le contenu
Ici, Maintenant & Ailleurs,
d'images. Ailleurs, un voyage au Québec, ou discursif dans une couche infé-
un voyage au Québec
La production plus récente bien tracent une immense étoile rieure. Le sens des groupements
La Gare, L'Annonciation,
pousse un peu plus loin la Stella. Ils servent de support à nominaux est indéchiffrable. La
5 novembre-11 décembre 1994.
démarche afin d'explorer la des fragments de lieux géogra- surface dissout l'ordre sur lequel
Galerie II Patio, Ravennes,
question plus complexe de l'ori- phiques qui se juxtaposent dans l'ensemble des connaissances
un ordre arbitraire, mais selon repose et le désordre des lieux 2-24 septembre 1995
gine du sens. Ici, Maintenant &
Ailleurs, un voyage au Québec un parcours déterminé qui des- (fragmentés) entraîne la disper- Palazzo S. Salvatore, San Giovann
lario Callens. Stella, ( l 9 9 4 ) e t S t e / / o ( l 9 9 4 ) récupè- sine des courbes. La carte géo- sion d'une multiplicité d'iden- n Persiceto, janvier-février 1996
994. Lampe, bois, tités. Il s'agit, en fait, d'un
rent tout le répertoire iconogra- graphique est en soi comparable
^uarelle. résine NOTE :
phique ainsi que la au langage puisque les unités de désordre de fragments de plu-
alyester et sable. 1. Nous nous référons ici à Michel
problématique des oeuvres anté- mesure, les dessins et les sieurs ordres possibles, une
istallation : Rocca Foucault. Ainsi, le "lieu com-
Dssente, Bondeno. rieures tout en utilisant un légendes organisés selon un hétérotopie qui ne permet pas
mun" devrait être entendu
loto : Mario Callens. vocabulaire nouveau, la cartogra- ordre précis remplissent une de nommer et fait éclater la
comme l'espace d'ordre dans
phie. Il s'agit d'éléments de bois fonction discursive; leur spécifi- syntaxe. lequel se constitue le savoir dans
lario Callens. Id,
de forme cubique (2 x 2cm), cité est de désigner des lieux, Tompe-l'oeil, texture, espace une culture donnée. Les mots et
\aintenont & Ailleurs,
mesurant un mètre de longueur dans ce cas-ci des fragments de du non-lieu et surface opaque les choses, Éditions Gallimard,
i voyage au Québec.
?94. Bois, aquarelle, — le mètre faisant référence à la lieux. Avec une ordonnance déstructurent le langage. En Paris, 1966.
isine polyester et
ible. 30 x 40 cm. Vue
irtielle de
istallation. Photo :
ureal Multimédia. Big Rock
.tfpwVnrk Km
Michael Molter
f
his years NYC rites of
spring included a
N o r t h American Free
Trade Agreement (NAFTA)
version of the Whitney Bien-
nial, reflecting opening bor-
ders, with work for the first
time by t w o Mexican and
two Canadian artists, in a
1995 appraisal of contempo-
rary American art. A brilliant
Bruce Nauman M O M A ret-
rospective, new work by Ca-
nadian Claude Simard in solo
at Jack Shainman Gallery, and Uptown, the 68 th version in a ings, Configurations, Proportions, Keeper, (hearse, mufflers, iron fence,
long tradition of Biennial, on three Materials catalogued, sealed or dis- industrial plastic, grease and feath-
African-Asian combinations in an
floors of the Whitney, included a carded); Andrew Lord, (bronze jugs, ers), and Gabriel Orozco, Elevator,
exhibition titled Ancestors in the large suspended sculpture, Mattress- vases, and dishes ); Richard Serra, (altered elevator cabin). The Bienni-
es and Cakes, by Nancy Rubins. Primo Levi (forged steel); Rirkrit Ti- al was to re-open in September in
East Village, were enough incen- Rather than specific themes or sub- ravanija (pavillion installation with Prague, Czech Republic, on to De-
jects, the exhibition emphasizes art's film projection and live music); A n - cember, at Velentrzni Palàc Museum
tive to witness the April season. metaphorical functions. Canadian drea Zittel, A-Z Comfort Unit, (steel, of Modern Art, but has been can-
artists are represented by Vancou- birch plywood, upholstry fabric, celled.
ver's Jeff Wall, (flourescent light foam, plexiglass and objects); Bessie The Nauman retrospective 25
Claude simard, Posse
composé, 1995. Installation transparencies) and film maker Stan Harvey, A Thousand Tongues Can years, MOMA, March I-May 23,
view. Courtesy of Jack Davis. Sculptors included are Barry Never Tell, (wood, paint, glitter and stresses recognition of the w o r k by
Shainman Gallery, New York. Le Va, (Separated Animation: Group- found objects); Nari W a r d , Peoce the effect and diversity of the media
ESPACE 34 HIVER / W I N T E R 1 9 9 5 - 1 9 9 6
Kirsten Ortwed, The
foamcore, wire and graphite, 1984, sense of direct contrast easily relat- Eyes of the Portrait,
to Learned Helplessness in Rats (Rock ed to the "material dualism" within 1994. 8 part
and Roll Drummer), plexiglass maze, an installation of eight sand blasted installation. Sand
closed circuit video, scanner and aluminum and galvanized steel chain blasted cast
mount, monitors, video, colour, constructions. Opposite, DIA aluminum,
sound, 1988, t o Ten Heads Circle houses Walter De Maria's installa- galvanized steel
chain. Courtesy of
lUp and Down, wax and wire, 1990, tion The Broken Kilometer, 1979,
D.C.A. Gallery, New
and Poke in the EyelNose/Earl 3 18 I composed of 500 highly polished York.
94, (video projector, video disc, brass rods, measuring t w o metres
colour, sound). in length and 5 cm. in diameter and
placed in five parallel rows of 100 Nancy Rubins,
A t 420 W e s t Broadway, Leo
as opposed to any consistent style. entanglements of emotional and in- Mattresses and
Castelli's, Nauman, 25 years was rods weighing 18.3 tons, commis-
Examples of divergent approaches tellectual response, by affective and Cakes. 1993.
held in the same building where the sioned and maintained since instal-
are displayed with equal strange- spiritual conceptual art processes, Installation view.
former 49th Parallel closed its Ca- lation by DIA Centre for the Arts. Mattresses
ness and intensity in wax and plas- attacking the dichotomy of reason
nadian offerings with Outlines, a re- Monumental stone and w o o d (approximately 250)
ter; fibreglass and latex; electronic and instinct, revelling in rational ex-
cent series of w o r k by Saskatche- sculpture by Man Averbuch and ce- and cakes. "1995
display reproduction, holography, ceptions t o logic and systems of
wan sculptor Joe Fafard. A retro- ramic sculpture by Viola Frey were Biennial Exhibition".
neon, video, recorded sound; to chaos.
spective of his w o r k is planned in among offerings at the Nancy Hoff- Courtesy of
live performance. Each of Nau- Perhaps, the most international- Whitney Museum of
1996 for the Montreal Museum of man Gallery, while at Fawbush Gal-
man's visual mediums is a language ly influential figure of his generation Amencan Art.
Fine Arts. The D C A . Gallery, lery, Grand Street, w o r k by Mon-
with its own sensory vocabulary, of American artists, Nauman's
modelled after the 49th Parallel, treal's Betty Goodwin highlighted
connotations and ambiguities. Nau- sculptures and environments exam-
showed Recent Sculpture by Co- recent sculpture.
man manipulates language as if ine life and death, love and hate,
logne based Danish artist, Kirsten Danish artist, Bjarne v. H.H.
words were a sculptural substance, faith and doubt, in an age of dis-
O r t w e d . Ortwed's chain and cast Solberg's installation Memory box-
in which common catch phrases as- quiet in its own distinct idioms, in
process sculptures are subtly daz- es, operating in t w o forms of
sume dynamic shape, qualified by w o r k titled: A Cast of the Space
zling as they w o r k together in space putting sight, sound and
gestual adverbs and adjectives of under my Chair, concrete, 1966, to
interplay, as an overall installation. taste into play at the same time
light and colour. Nauman produces Room with my Soul Left Out, wood,
In the w o r k of O r t w e d , there is a corresponding, t o memories and
E S P A C E 34 HIVER / W I N T E R 1 9 9 5 - 1 9 9 6Bruce Nauman, 10 defense mechanims that inform torical monuments by Fariba Haja- tions implicitly ask why we change bled w o r k in Ancestors, that pro-
Heads Circle/Up and perception, were seen in a group madi, in The Invisible Mirror of Mem- and raise questions about gender files Black Asian American artists.
Down, 1990. Cast exhibition on Broadway at the A l - ory, resist the translation of ab- stereotypes. Born in Larouche, A collaborative piece by Robert
wax heads. ternative Museum's 20th season. stract perceptual relations put into Quebec, Simard commemorates Craddock, (who in 1995 under-
Installation : 2.43 m
Japan and China artists are also a structure of language which oc- the 100th anniversary of his birth- t o o k a monumental 50' totemic
diameter x 139,7 cm
represented in separate galleries, curs in painting, but which form en- place, both in a major w o r k in Pas- bronze sculpture, built for Chung
off the ground.
Photo : Dorothy through w o r k by Yoshiko Kanai tire installation environments. A t sé composé which includes the Qing, Schechuan, China), and Liu
Zeidman. "Bruce using combinations of sculptural Cavin Morris Inc., an exhibition of names of those 12, 000 who have Lan Ding, Chinese brush artist,
Mauman 25 Years". figurative representation and se- mixed media work by Bessie Har- been known to have lived in La- (who has exhibited in both T o -
Courtesy of Leo lected materials directed toward vey parallels her participation in rouche revealed through town ar- r o n t o and Montreal), is a synthe-
Castelli Gallery, producing a collision of different the Whitney Biennial. chives, as well as through the or- sis of the t w o mediums in an in-
New York. values, both physical and existen- A t this same address across ganization of an exhibition, from stallation tribute t o mediums and
tial, and by Wenda Gu, whose from the SoHo Guggenheim, the July I to August 25, of international messages. O n a final note, Up-
w o r k crosses racial borders and modernist minimalist sculpture by artists in Larouche from the USA, t o w n the Solomon Guggenheim
national divides in illuminating the Claude Simard in Possé composé, Belgium, Germany, France, Swit- exhibition of w o r k by Felix Gon-
effects of ethnic beliefs and pre- transforms time into art, with the zerland, and England. Among Cana- zallez Torres, included something
vailing cultural practices on the notion that the past is only what dians represented are Sylvie Bou- for everyone w i t h photo repro-
perception of the art object and we carry with us into the present, chard, Marion Cuff, Pierre Dorion, duction posters and mounds of
notions of the abject. Amos Eno and at the Nicholas Alexander Gal- Evergon, Michel Goulet, Louis edible samples for hungry visual
artist centre in its 20th season, lery on Spring Street, Material Iden- Lussier, Roberto Pellegrinuzzi, and art visitors in the form of Bazoo-
bridges between sculpture and ar- ties including work by Simard, Elise Marc Tremblay. ka bubble gum and black rock
chitecture in Joseph Polmar'sTo- Siegel and Carolee Thea. Simard A t the Kabella centre on 2nd candy with a sign that read: N o t
temitecture installation. uses material as metaphor for lived Street in the East Village, and the for consumtion in the museum
A t 560 Broadway, at Max Pro- experience: the raw material of Asian Centre Gallery on the Bow- gallery, please. I
tech Gallery, photographs of his- memories. His objects and installa- ery, curator Robert Lee assem-
fandra Gregson: Urn Susan Shantz
/"Systems of divination have exist-
\ ed in all times and places. They
V ^ / are, in fact, the roots of our
own culture's highly valued scientific
methods. While we are ignorant of
how to read the entrails of dead an-
imals for meaning (and suspicious of
such practices), we use, both pro-
fessionally and popularly, the
language-mediated insights of psy-
chotherapy to understand our cir-
cumstances.
This has become our culture's
preferred divinatory method. But is
it sufficient? W h a t of that which ex-
ists outside of language, in the si-
lence before utterance? In the spac-
es for which words do not exist?
A bronze divining rod, forked
near its base and curving upward
into elegant, fallopian handles, occu-
pies the center of the room in San-
dra Gregson's recent installation at
the Red Head Gallery. The broad-
ened, hoofed toe of the piece rests
lightly on the floor while two lumpy
finger-thick branches swell away
from it, then together, before curl-
ing in opposite directions and back
toward themselves. This object re-
calls the water-seeking rod of the
professional diviner, as well as, in
Sandra Gregson, Untitled
(divining rod), 1995. Bronze,
E S P A C E 3 4 HIVER / W I N T E R 1 9 9 5 - 1 9 9 6
cable. 72 x 72 x I 22 cm. Photo:
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