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French Artist CESAR Returns in First U.S. Solo Show in 50 Years, 11/1
By: Christina Mancuso Oct. 07, 2013
Beginning November 1, 2013, Luxembourg & Dayan will present Ce?sar, an historical survey devoted to Ce?sar Baldaccini (1921- 1998), the celebrated French artist and founding member in 1960 of the Nouveaux Re?alistes group that paralleled the emergence of American Pop Art and included Yves Klein, Jean Tinguely, Christo, Martial Raysse, and Arman, among others. The exhibition comprises two-dozen works spanning the career of the artist known everywhere simply as 'Ce?sar,' and suggests his fundamental contribution to the evolution of modern sculpture through a radical rethinking of classicism and bold experiments with new materials. Featuring rare objects from the artist's estate, major museums, and important private collections, Ce?sar coincides with the 60th anniversary of theartist's first one-man exhibition, which took place at the Galerie Lucien Durand in Paris.
Filling all of Luxembourg & Dayan's townhouse at 64 East 77th Street, Ce?sar also is the first U.S. solo exhibition devoted to the artist in half a century. In a fitting coincidence, the show takes place on the very same street where Ce?sar's breakthrough American exhibition Sculpture: 1953-1961 was presented at the Saidenberg Gallery in 1961. In tribute to this history, the artist's 8 foot tall bronze sculpture Pouce (1993) will stand in front of the gallery's building, a literal and figurative fingerprint on the streetscape of New York City.
Ce?sar will remain on view through January 18, 2014.
Ce?sar at Luxembourg & Dayan has been organized with the support of Fondation Ce?sar and its director Ste?phanie Busuttil-Janssen. The exhibition will be accompanied by a catalog featuring a new short story by renowned Israeli author Etgar Keret, inspired by the work of Ce?sar. The book will be published in English and French.
Paris Presentation
In conjunction with Ce?sar in New York City and the 40th edition of the FIAC art fair in Paris, Lanvin creative director Alber Elbaz will pay tribute to Ce?sar's significant position in modern French culture by curating a public presentation of three of the artist's monumental sculptures. These masterworks, on loan from Fondation Ce?sar, will be on view in large vitrines that front the Lanvin flagship on the rue du Faubourg Saint-Honore?, for a month beginning mid-October 2013. This special presentation honors Ce?sar's long engagement with the world of fashion. Over the course of his career, the artist collaborated on projects with Herme?s, Nina Ricci, and Louis Vuitton, among others.
Performative, Poetic, Powerful
Examining the various aesthetic and conceptual turns that typify Ce?sar's practice, the show at Luxembourg & Dayan will present historically significant examples from his Compression, Human Imprint, and Expansion series, as well as such early figurative works as the Venus-like welded iron sculpture Torso (1954), on loan from the permanent collection of The Museum of Modern Art. The exhibition focuses in particular upon Ce?sar's radical work of the 1960s and 70s. In these decades the artist avidly explored the aesthetic and intellectual territory between classical and conceptual sculpture. Works on view reveal how Ce?sar challenged traditional notions of form and space, and proposed a fresh and highly personal sculptural language via his pioneering experiments with postwar industrial materials.
Moving through the different levels of Luxembourg & Dayan's building, visitors will take in the evolution of a career punctuated by seemingly sudden and contradictory departures in style and materials. Pink and white iridescent polyurethene Expansion murales give way to Compression murales - dense wall pieces made up of jute sacks, wool blankets, and scraps of cor- duroy and velour - and extraordinary wall-mounted sculptures made from parts of automobiles and motorcycles. Through these disparate bodies of work, however, Ce?sar ultimately reveals an unmistakable consistency of vision and traces a central preoccupation across decades: Ce?sar ceaselessly explored the ways in which an artist's hand can guide, craft, and indelibly imprint the world's many common industrial materials without hampering their inherent propen- sities. From glass fiber to polyester resin, from found car parts inviting compaction to molten bronze begging to be cast, the materials of Ce?sar's sculptures are masterfully guided into per- formative, poetic, powerful objects that seem just completed moments ago. In his pursuit of a new language, the artist helped to move sculptural practice from the 'modern' to the 'contemporary.'
Born in 1921 to Italian immigrants in the Belle de Mai quarter of Marseille, Ce?sar began his art education in the early 1940s at the city's E?cole des Beaux-Arts. The curriculum was constructed around drawing and classical sculpture, and Ce?sar was inundated with course work that stressed the importance of craft and material mastery, an ethic that would act as an underlying philosophy within his practice for the entirety of his career. By the time Ce?sar completed his course work at the E?cole des Beaux Arts in Paris in 1948, World War II had drastically altered the technologies available within the practice of metal work. The progression of welding technologies became particularly noticeable within post war sculpture, and Ce?sar pushed these technologies to their limits in his search for a mode of art production that confronted postwar modernity in ways that were both vibrant and industrial. He began experimenting with welding, shaping refuse materials into humanoid figures -- a critical first step for the artist and the first expression of his interest in the collision between progressive technologies and life.
In 1960, a scrap metal factory located just outside of Paris installed a new American steel press that was large enough to compress full automobiles. Ce?sar was fascinated by the metamor- phic qualities of the process, and he immediately came to believe that compression would yield the ultimate monuments of the mechanical age. The artist began using the press in his sculptures, carefully selecting full or partial cars and directing the ways in which the materials were crushed. The resultant works were initially viewed as a deliberate and wholly anti-aesthetic insult to traditional metal sculpture, but Ce?sar's Compressions (as the works would come to be known) are not simply the end result of a mechanical operation; they are representations of the possibilities that present themselves at the intersection between material, physics, authorship, and context.
Ce?sar will include examples from the full complement of the artist's Compressions. These range from the directed works in which Ce?sar selected various pieces of scrap and compacted them into one object, to full Compressions forged from whole automobiles or motorcycles. Also on view will be wall Compressions, pressed metal and plexiglass wall hangings that offer themselves in direct antagonism to traditional painting.
Also on view will be examples from the artist's iconic Pouce series -- sculptural depictions of the artist's thumb executed in a range of mediums and in sizes from tiny to monumental. Ce?sar's first Pouce in 1965 resulted in a small pink statue made with a pantogram (a device typically used to translate the dimensions of small plaster models into monumental statuary) and cast in newly available plastic resin, a material that would come to drastically alter the artist's practice. The use of plastic in this first Pouce facilitated Ce?sar's experiments with scale, specifically with works that represented small objects rendered in gigantic proportions. Among a group of monumental works by Ce?sar that will be exhibited in a private home across the street from Luxembourg & Dayan and on view by appointment, will be an example from the Sein series -- large depictions of human breasts that come to us as both familiar and alien, abstract and figurative.
The availability of new materials and modes of production in the 1960s led Ce?sar deeper into an examination of how scientific materials behave within real space in both mediated and unmediated contexts. This concept is perhaps most apparent in the artist's Expansion works, which are similarly concerned with ideas of technology, space, and material. The Expansions were first produced in the late 60s. Semi-organized sculptural spills - in the exhibition, ex- amples includeExpansion moteur (1971) and Expansion N 35/15 (1972) - were realized via new liquid polyurethane foam, a mixture that was tinted to the color of the artist's choice and then expanded and set, resulting in soft forms several times larger than their original liquid volumes. Noting that instead of conforming to the matrix of a mold, the material spread and expanded, Ce?sar was moved by his material's freedom and energy. The artist was eager to share his experience with the material, and many of the original Expansions were created as part of happenings in which an audience could observe the transformation from liquid to solid. The resulting objects were then cut up, signed, and distributed to the spectators like "slices ofcake" in a process by which Ce?sar, ever transfixed by the moment of creation, would place that moment into the hands of the public.
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