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Calder Centre Pompidou Paris

Alexander Calder: The Paris years at the Center Pompidou. Until July 20. 

The Pompidou Center in Paris presents a Calder exhibition, the years between 1926 and 1933, the father of abstraction born in the United States. For the first time, Europe may find Circus, probably the most significant Calder, created in the capital between 1926 and 1931. Since its acquisition by the Whitney Museum in New York in 1983, this "monument" of some two hundred figures made of recyclable materials lively and rudimentary mechanisms controlled by the artist, had never traveled for conservation reasons . It is therefore a unique opportunity to discover the culmination of the exhibition at the Pompidou Center on Calder's years in Paris, bringing together nearly three hundred sculptures, toys, drawings, photographs and films. The period chosen, seven fruitful years, from 1926 to 1933, which enabled Calder to form a personal vocabulary and find its way to abstraction, is deliberately short. Between the wars, time seems suspended like the son of iron twisted by the hand of the great artist to float in the air and reflect their shadows on the white walls of the six rooms. The name is associated with the Calder mobile, named by Duchamp, but also in "stable" that adorn the largest urban plazas, Paris in Sydney, from Toronto to Berlin. Combining monumentality and lightness, playfulness and abstraction, these totems giants have become emblems of modern art. But behind these icons is the most hidden face Calder, where he designed a sculpture of wire, vacuum, linear, mobile, and above all full of poetry. As part of the exhibition, the gallery of children in ground floor, offers a workshop around Calder open to young people. This space awareness based on the theme of the circus where trailers, games real positions, can experience and discuss various problems of the plastic language of the artist: balance, movement, line, l space, using simple materials and industrial. We also discovered that Calder through documents and films and plays it with his poetic universe by manipulating colored plants. Animal figures, characters from daily life inspired by photographs of the press, the stars of the entertainment and sports (tennis champion Helen Wills, 1927), celebrities (John D. Rockefeller, 1927), all these small figurative sculptures full of humor is a true journal of popular life. One of the rooms meet the range of 1926-1928 on the American dancer Josephine Baker, star of the Negro Magazine, which is divinely soft silhouette highlighted by breast size and a spiral. After 1930, marked by the geometric abstraction of Mondrian, Calder tends towards kinetic sculpture with metal lines, punctuated by pure colors are rhythmic directions. Mobiles hung in recent years cosmic embody the aspiration of a radical work, sober and very contemporary.

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