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Christo and Jean-Claude – Objects, Drawings, Collages

28.01.2017 – 18.06.2017

The exhibition in the kunsthalle messmer uses around 100 exhibits – including drawings, collages, objects, graphics and photographs – to present the artistic development of these exceptional artists towards increasingly sophisticated and sophisticated works of art. It shows all the important creative periods, illustrates and documents the working methods and spans a wide range – starting with the early works, through the world-famous projects such as the “Surrounded Islands”, the Pont Neuf, the “Umbrellas” in Japan and California, the veiled Reichstag in Berlin or the “Gates” in New York.

Christo and Jeanne-Claude – two names that are immediately and inseparably linked in our memory to an unmistakable work! The world-famous American artist, born in 1935 in Gabrowo, Bulgaria, continues to inspire with his spectacular and enormously ambitious art projects, in which he always turns wonderfully crazy ideas into reality with a lot of charm, wit and a sharp analytical mind. The unique and formative art experiences, mostly presented in the open air, remain anchored for decades in the collective art memory of an entire society.

The artist couple finances their projects themselves and lets visitors participate free of charge. The temporary works of art, which can only be admired for a few days or weeks, live on through drawings, photos, collages and editions and thus remain intact beyond the duration of the actual project.

At the beginning of his career, Christo primarily tied up everyday objects with string, paper, fabric and adhesive tape – his critical response to the iconic exaggeration of commercial goods propagated by Pop Art artists and to the packaging aesthetics of our society that are increasingly striving for perfection. However, it would be too one-dimensional to reduce his works to pure consumer criticism. Rather, they are experiments and games with the aesthetics of a veiled object, a building, or parts of a landscape temporarily hidden from the viewer’s gaze, but which are always recognizable in their outlines and thus remain a memory of themselves.

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