Yet the show also addressed the downsides of the space program, and some of its darkest moments. Also pulling from the influence of the Russian space programs, Ilya and Emilia Kabakov’s installation Fallen Angel referred to the Greek myth of Icarus, working around a desire to be elevated in the skies.Īnselm Kiefer, Das Grab in den Lüften (A Tomb In The Sky) (1991), via Art Observed Tatlin resonated with undertones techno-utopia and references to the legendary utopian tower of Russian artist Vladimir Tatlin that would have made possible a new experience of space. Lee Bul’s installation, for example, proposed and questioned the exploration of science fiction and cybernetics through gender politics, the notion of collective imagination, and the body as monument, while Dan Flavin’s Monument for V. Other works reflect on more extended and social constructs fueled by the space race, from new conceptions of the body to utopian promises. Patrick Neu, Sans titre (2007), via Art Observed
Robert Rauschenberg, was also on hand, with a work from his famous Glut series, Nagshead Summer Glut Sketch, mounted a wall sculpture built with airplane parts. Conversely, James Rosenquist, who had a continuous eye on the scientific phenomena around the US space program showed two new paintings that represent a fragmented cosmic view of space, in his very iconic Pop Art style. The juxtaposition of process and devolution evokes the sacrifice of human life in order to achieve certain ideals. Inspired by rockets and spaceships, artists like Robert Rauschenberg, James Rosenquist, Richard Artschwager and Anselm Kiefer equally reflect their vivid, multi-layered interest in the skies, and introduce these powerful imaginaries into their work.ĭas Grab in den Lüften (A Tomb In The Sky), for instance, based on a poem by Paul Celan, is a major installation by Anselm Kiefer, which is composed of a tall rocket contrasting with a surrounding large canvas and broken frames.
SPACE AGE ART MOVIE
Several events such as the launch of Russian Sputnik spacecraft, the first expedition of a woman in space, the Hollywood movie Interstellar, or the recent Pluto flyby have created and later renewed society’s fascination with outer space adventures, technology and future social alternatives. James Rosenquist, An Intrinsic Existence (2015), via Art Observed The artworks on view explored one of humanity’s most archaic collective dreams: the conquest of the skies and the immersion in the cosmos. The group exhibition Space Age, which closed yesterday at Galerie Thaddaeus Ropac in Paris-Pantin, took up all four of the gallery’s spacious halls to examine historical and commissioned works by twenty contemporary artists, drawing on the astrological, the exploratory, and the untapped potential of outer space.
This season Dossena referenced a metal-link jumpsuit Hardy wore in 1968, the same year that Brigitte Bardot sported Rabanne in the music video for her song “Contact” (written by Serge Gainsbourg) and Jane Fonda modeled the designer’s futuristic costumes in Barbarella.Tom Sachs, Crawler (2003), all photos via Andrea Nguyen for Art Observed The collector Peggy Guggenheim was one of his first customers, and the yé-yé star Françoise Hardy became a fan. (He’d later sell DIY kits consisting of discs, rings, and pliers.) Rabanne’s designs existed in the space between art and fashion, and they were irresistible. Arguing that “sewing is a bondage,” he made dresses not of fabric, but of earth-friendly paper and other non-fashion materials like plastic and metal, which were pieced together with wire and glue. Two years later, in 1966, he had his breakout show: “Twelve Unwearable Dresses in Contemporary Materials.” Presenting at the George V, Rabanne broke utterly with convention, using music (which wasn’t done at the time) and including models of color in his casting. When he was 30, Rabanne presented his first fashion designs.
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