Music for a while

ROSANNA ALBERTINI about JEAN-LOUIS GARNELL

JEAN-LOUIS GARNELL  sent me from Chatenay-Malabry (France) images from the seventies, he found them in boxes at his parents’ house. He was then photographic amateur, had a small printing laboratory in the basement. Music was more important than images.  Before his mathematical thinking, before photography as a major artistic endeavor.

REPETITION    “An apple after Cézanne? More than one. Repetition is only time, it’s also a new feeling of light that plays with human thoughts and contemplates them.” (J-L G.)

For decades of photography, and now in paintings, Garnell is still wondering how to free the images from the cages of optics, psychology, romanticism, representation, and from the social dance people share in their life time. Images should rest on their own, giving us their essence to be perceived, then quietly fading away from a landscape that doesn’t stop changing when nobody is there. Ephemeral, irrelevant? The equation is inevitable. Lucky the poet who  writes: “you perceive what fades away with you, you cannot grasp what is gong to last” (Edmond Jabès). Words. What about images, that hit our senses when the reality they contain has gone? Images are conservative.

YOUNG PEOPLE TODAY:

JEAN-LOUIS GARNELL, Sans titre,

SANS TITRE  #3    2010   67 X 100 cm          © Jean- Louis Garnell

 

YOUNG PEOPLE IN THE SEVENTIES   (Each diptych includes the original edition of the record: vinyl and cover) AMERICAN and FRENCH MUSIC

 [Please, click on the image to see it bigger]

 

JEAN-LOUIS GARNELL, Diptyque I 1972-2012 80 x 120com, 80 x 60 cm © Jean Louis Garnell

Diptyque  I     1972-2012      80 x 120 cm,     80 x 60 cm
© Jean Louis Garnell

 

JEAN-LOUIS GARNELL, Diptyque II  1973-2012 80 x 60 cm, 80 x 120 cm © Jean-Louis Garnell

Diptyque  II     1973-2012     80 x 60 cm,      80 x 120 cm
© Jean-Louis Garnell

 

JEAN-LOUIS GARNELL, Diptyque  III   1973-2012 80 x 120 cm, 80 x 60 cm © Jean-Louis Garnell

Diptyque  III     1973-2012     80 x 120 cm,      80 x 60 cm
© Jean-Louis Garnell

 

JEAN-LOUIS GARNELL, Diptyque  IV   1973-2012 80 x 120 cm, 80 x 60 cm © Jean-Louis Garnell

Diptyque  IV     1973-2012     80 x 120 cm,      80 x 60 cm
© Jean-Louis Garnell

 

A DIPTYCH WHICH IS JUST A WHITE CUP BROKEN IN TWO HALVES, EXACTLY ALIKE.

I use it as a metaphor: even broken, the form gives a sense of permanence. In between the edges, the chaotic and fading concert of irrelevant noises, the rush of life. Chateaubriand wispers to me: “Doesn’t each small human being, indifferent, ready to be forgotten, give a true measure of the big events? We can only survive through our style.”

 

JEAN-LOUIS GARNELL, Diptyque #1  1992 © Jean-Louis Garnell

Diptyque #1   1992        2 x (40 x 50) cm      © Jean-Louis Garnell

http://www.Jeanlouisgarnell.net

 

GIUSEPPE PENONE: branches of thought and their quest for light

IN WORDS AND SCULPTURES

… leaves absorbing light / leaves of mirror / mirror of leaves /twisting pathways / obscure gravity / winding branches looking for light … (G.P.)

“A work that is a thought produced by action”

“A work whose content is the significance of its materials” (G.P.)

GIUSEPPE PENONE, Pelle di foglie-sguardo, 2013  Bronze, gold, 98 x 70 x 30 inches  © Giuseppe Penone. Courtesy of the artist and Gagosian Gallery.  Photo: Benjamin Lee Ritchee Handler

GIUSEPPE PENONE, Pelle di foglie-sguardo, 2013 Bronze, gold, 98 x 70 x 30 inches
© Giuseppe Penone. Courtesy of the artist and Gagosian Gallery.
Photo: Benjamin Lee Ritchee Handler

 

GIUSEPPE PENONE, Pelle di foglie - 5 foglie a terra, 2011 Bronze, 113 x 75 x 39 inches @ Penone. Courtesy of the artist and Gagosian Gallery. Photo: Josh White

GIUSEPPE PENONE, Pelle di foglie – 5 foglie a terra, 2011 Bronze, 113 x 75 x 39 inches
© Penone. Courtesy of the artist and Gagosian Gallery. Photo: Josh White

 

GIUSEPPE PENONE, Pelle di foglie - sguardo, 2013 Bronze, gold, 97 x 87 x 43 inches @ Penone. Courtesy of the artist and Gagosian Gallery. Photo: Josh White

GIUSEPPE PENONE, Pelle di foglie – sguardo, 2013 Bronze, gold, 97 x 87 x 43 inches
© Penone. Courtesy of the artist and Gagosian Gallery. Photo: Josh White

 

“….walking over human actions accumulated in the ground, I feel them

according to the steps I’m allowed to do.

I repeat the walk.

The earthly eyelid becomes evident, imprinted, precise;

there is the eye underneath vibrating, quivering.

I pick up the gestures I made on the ground and bring them, stretched,

on a wall not higher than my eye.” (G.P.)

 

Put your face on the ground:  “as the ground warms up, your thoughts are more and more aware that the ground (la terra) is the brain.” (G.P.)

 

SEDIMENTS FROM MY MEMORY    by     ROSANNA ALBERTINI

 1992, twelve years ago in Paris. Soft snakes of time were resting on a branch, one over the other, shaped by Penone’s fingers. Human and inhuman. I only had to close my eyes to see my own life contained in those simple forms of clay and wood. My thoughts fell on a piece of paper, and yet I never sent it to the Italian newspaper I was writing for.

Later in Turin. I met the man of the woods and gave him that sheet of paper, my crumpled leaf. We spent the afternoon walking from his studio to other artists’ houses, sitting at the kitchen table, talking, drinking coffee or wine. Sort of countryside life in the city.

Penone had been invited to San Diego to produce a ‘site specific’ work for Insite. “They don’t understand I am a sculptor, I can’t go,” – he tells me. “The first time I refused because my dogs need me.” “Bring the dogs,” they insisted.  “I can’t come because I have chickens.” It was the end of it. Today his sculptures are in Los Angeles, a one person exhibition at Gagosian Gallery.

Please reader, try to think Italian when you look at Penone’s art: tree in Italian is albero (male) and pianta (female). Branch is ramo, or la rama, always male and female. Earth, ground, is la terra. Our words are never neutral, neither is our thinking that is often dressed with natural images looking like metaphors but they are not. Skin, la pelle, is the wrapping form of any living entity, stones included. La pelle d’uovo, l’uovo di Colombo, and dried up humans stuck like sugar candies in their wishes for  branches of intellectual superiority.

Penone shows the lightness and power of our natural siblings with no fear: they can be freed by the layers of time as human cannot, the trees’ physical childhood can be exposed.

A sort of magical thinking is simply natural to those who grew up in the woods, animistic  or anthropomorphic. Words are a stop in time. The artist’s actions instead, excavating time out of the marble skin vein by vein, gives a voice to the reworked surface of the mountain, and many new faces. La pelle del monte. A piece of marble disseminated with eyes underneath the surface, and layers of organisms.

 

GIUSEPPE PENONE, Pelle del monte, 2012 Carrara marble, 61 x 63 x 2 1/4 inches @ Penone. Courtesy of the artist and Gagosian Gallery. Photo

GIUSEPPE PENONE, Pelle del monte, 2012 Carrara marble, 61 x 63 x 2 1/4 inches
© Penone. Courtesy of the artist and Gagosian Gallery. Photo: Douglas Parker Studio

 

When his face touches the ground, he can feel the space left for us by all those who passed and disappeared, and be one of the passers by, only in a different time. Time is his Titan, already kicked down by ancients gods and by the modern god: “Time is for his creatures, not for Him.”

Penone gives his living time to sculpted forms to whom he adds love, listening and veneration. He reveals them, does not change them. Such collaboration with natural forms, artificially replaced by more durable materials, bronze and gold for instance, or questioned  by the painstaking labor of carving, refills them with a sense of awe. We receive it; some gold leaves start shining in the hollow of our trunk. We might be trees, piante, arbusti, alberi…rame di corbezzolo. Why not?