Friday, 17 February 2017

Rodin, but not quite what you expect - Until Saturday 11 March



Rodin employed much tenderness when he sculpted The Kiss* (see pic below). Wrought in marble, he also employed much muscle, as well as all his skills, to create perhaps 'the' emblem of the lovers' embrace.



















But look again, here's a close-up.



















What has happened? The male has been given a nipple-ring; Out of shot, someone has removed one of his fingers and stuck it on the wall. Look at the female. Her body has been gouged and wormy bits added. Round the back, someone has given her dreadlocks. And look, someone is actually touching the sculpture. 

Ha, it's intentional, so I'll stop teasing dear reader now.
  1. It's not marble, it's a slightly larger than the original copy cast from oil-based modelling clay (Plasticine to give it its trade name).
  2. It is the work of a present-day artist, the very much alive Urs Fischer.
  3. The artistic idea is to confront immutability; to make a copy that is so malleable that it can become a collaborative work, a collaboration between the artist and the viewer - you and me if you like.**

Here's my final pic, the fun bit . . .

  

















I hope the picture speaks for itself. Please note that I visited the exhibition on February 14 - subsequent visitors will have made further changes since then.
  
Urs Fischer
The Kiss
Sadie Coles
1 Davies Street 
London W1K 3DB 
Tues – Sat 11 – 6 
For all enquiries:  
info@sadiecoles.com

* Rodin also practised a form of co-laboration in that he employed studio assistants who, working from small models, would rough out the basic shapes of a sculpture for the master to complete. Rodin made three signed copies of this work, also in marble. You can see one of them in Tate Britain.  
** Urs Fischer's The Kiss (2017) will be exhibited at Sadie Coles HQ over the course of a single month.

Sunday, 5 February 2017

Elvire Bonduelle at Ronchini Gallery
until Saturday 18 March
French chic from an artist who shows early signs of the flair and humour of a young Claude Lalanne (see earlier review). Of course it may be that it's because both women are French. Bonduelle, a young Parisian trained at the Ecole Nationale Superieure des Beaux-Arts de Paris, produces work that is spirited, cheeky and poetic. Her black metal benches, austerely unupholstered, may not look all that comfortable (see below), but each pair carries a witty message - 'Cool Raoul' as shown or 'Relax Max'.

RONCHINI GALLERY
22 Dering Street
London W1 
ronchinigallery.com
Mon-Fri 10-6; Sat 12-5
Note: Walk in from Oxford Street 
into the start of Bond Street and 
take the first turning on the right 
to find Dering Street

Elvire Bonduelle, Cool Raoul, 2016, painted iron (in two parts) each 45 x 40 x 140, 45 x 40 x 120 cm
© Ronchini Gallery and the artist, published with permission