Natalie_Ron Mueck

Ron Mueck

Progression 

The exhibit by Ron Mueck was amazing to say the least. In a nutshell I feel like it pulled the aspects of curating we have been discussing since the beginning of the trip. The intention behind the layout of the pieces was so thoroughly well imbedded in the content of each individual piece that the progression through the exhibit was one of the best and well laid out I have yet to experience. It is as if you are progressing through a personal change as you make it through the exhibit. 

The Building

Jean Nouvel was the architect for the building which housed Ron Mueck's exhibit. The building had moving glass walls and a design that allowed his sculpture pieces to interact with the natural environment of the garden/courtyard in the back of the building. 

Fondation Cartier

 © Thomas Salva/Lumento for la Fondation Cartier pour l'art contemporain

Paris is a city of windows, I thought as I thought outside our hostel one morning, facing the canal, watching people open their windows to peak out at the day. We’ve learned that in certain buildings windows could denote the hierarchy of those residing with in—shopkeepers on the street level, with the large display windows. Just above them lived with wealthy, with large windows and ornate carvings and wrought iron on the outside. The social hierarchy falls as you rise in the structure, and the windows grow smaller and narrow, until finally you reach the top floor with some windows as small as a porthole. Roof top gardens and sunroofs that adorn the top of many Parisian buildings, is a modern desire.

L'immeuble de la Fondation Cartier pour l'art contemporain, à Paris. Architecte : Jean Nouvel © Jean Nouvel / Photo © Philippe Ruault

Paris is a city of glass—ever since the modern age, Paris has strived for feats of engineering marvel, including spectacular works of glass—a “palace” of glass and steal, windows that trace the whole perimeter of the house to let in the light, a whole façade of glass—the tradition carries on into contemporary architecture. The Fondation Cartier is glass wall facing the neighborhood and the building itself is a clear glass structure with a first floor and basement gallery used to exhibit contemporary emerging and establishing artists. 

  

Through these glass walls you view the first glimpse of Couple Under an Umbrella, a hyperrealistic sculpture by artist Ron Mueck, one of nine sculptures in the solo exhibition on display at the Fondation Cartier. The striking sculptures, predominately human figures, were expertly curated in collaboration with the artist, with the use of mobile walls that would strategically block off or reveal the glass wall/garden backdrop of the first floor gallery. Closed off and open, the space juxtapose itself with the work, just as the figures are juxtaposed with each other, vulnerable, exposed, larger than life in their detail and humanity even when they are scaled to a less than average height. Descending into the lower gallery, devoid of the external world and natural light, the exhibition itself descends into a its own darker realm, where the subconscious, covert, and internal of the artist and the viewer is now on display.

(Below: Journal investigations from the Ron Mueck show.)

Ron Mueck/Cartier

Ron Mueck’s sculptures made me pretty uncomfortable.  His whole exhibit seemed to be about first impressions and closer looks.  The first impression is scale, reality, and detail.  The sculptures are impressive.  A closer look will reveal how off-putting and uncomfortable they are.  Each sculpture has a specific gaze and is intentionally (or intentionally not) interacting with the viewer and the other sculptures.  The gazes and poses of the figures are very open to interpretations and narrative, but I think most people will come to the conclusion that none of the figures are happy.

Foundation Cartier

Today we went to the Foundation Cartier which was another lovely building designed by  Jean Nouvel. Once again I had no idea what to expect when we got there, no surprise there i’m sure. The Foundation was displaying work by Ron Muek, whose work I had stumbled upon while online at some point online. I remember being really awe struck by the pieces and especially creeped out when seeing the pieces with a scaled comparison. 

I think his work at a surface level really taps into the fear instinct in people. They’re size and life likeness makes them seem that at any moment these sculptures could come to life and haunt you. While I was there I heard a lot of people saying that they swore they saw them moving in the corner of their eyes or breathing. It really hits a nerve with people. 

For the exercise I was responsible for both neighborhood and site for “Woman with Sticks” and “The Couple” and I think for the first time I really understood and could decipher the curatorial perspective. I really liked being able to pick out all of the different intentions and messages that were conveyed through the positioning. 

For “Woman with Sticks” what I found striking about her was that everything about her positioning brought you back around to see her in front of the window and consequently in context. I would go into more detail but I don’t want this blog post to be too long and I think the curation of “The Couple” ends up being a lot more interesting. 

On to “The Couple” then. The position of this sculpture in the space makes it the fourth thing that a person would see upon entering the space. The sculpture is also situated in a room that encourages circulation around the sculpture which is an imperative part of the experience. If you don’t circle around the piece, you aren’t able to see the violent gesture of the boy gripping the girl’s arm. 

I also noted that if you happen to stand in front of the piece looking at it and the people behind it the sculpture sort of melds into crowd, which is huge for the message of the piece. It sort of explains that domestic abuse is something that can easily go unnoticed and it’s happening in every crowd.

I even noticed a couple of people taking the same stance as the couple. The woman leaning in to sort of hear what the man has to say about the piece, creates that same effect.

Over all the day was just a really wonderful experience that I couldn’t possible completely summarize.

      

Ron Mueck: Foundation Cartier

Foundation Cartier: Ron Mueck

Upon entering the Foundation Cartier pour l’art contemporain. The exterior façade seems to blend with the surrounding area with the front exterior wall, skimming the sidewalk, graced with a garden space before the actual set back of the entry of the building. The entirety of the façade is glass in material and metal partition walls. However, this building does standout for good reasons in its environment.

The building as a whole is rationally planned out, as well as the curation of the work being housed here on exhibition from April 16^th until the 29^th of September. This day encompassed a logical, and critical analysis – on multiple scales, of the works of Ron Mueck.

Ron Mueck - Foundation Cartier

We were asked to critically analyze two specific works along with the overall theme of the exquisitely curated exhibition. The pieces the group I was in focused on “Woman with Sticks” – (you can see the photo of the piece on brochure posted below) and “Young Couple”. I will specifically talk about “Woman with Sticks” here.

Woman with sticks - Exhibition handout

I focused on the smaller scales - scale of the body (the fifth of the six scales) and the details of the piece (the last scale of six). It was important to note that the lady in “Woman with Sticks” depicted in the round was bearing more weight in sticks of our human scale than it seemed humanly possible to carry. The weight bearing was shown in the folds of her skin near her ankles, that seemed stressed, and nearly crippling. The scars and coloration of the wounds on her body (scratches from the sticks) – were present on her stomach and arms. The deep grooves in her back suggested the motion she was bending in due to the weight, however her face did not seem in distress like the rest of her body.

Sketches of the parti of Foundation Cartier

Her gaze to us was at eye level to the human scale. Her gaze depicted she felt her duty was effortless and seemed quirky to me. At a certain angle you approach her, she will stare you directly in the eyes. The bilateral stance suggests a potential kinetic motion forward, linear through the path of the room, as if she was walking from the outdoors, through to the next room. What had me questioning the reality of this situation she was placed in – the dialogue in my head led me in to thought about the fact she is not dirty at all, her toes are neatly polished, there is no dirt on her feet, her pony tail is fairly intact, and even her legs are smooth in appearance.

We found that she appeared to represent a mythological situational circumstance. There was nothing connecting to me how she could be in the nude, bearing more weight than possible, with multiple scars, seemingly coming from an outdoor setting, no dirt to be found upon her skin, yet seemingly not frustrated with her overbearing task.

Overall, The conclusion we came to about the theme of the exhibition in an entirety would be that of vulnerability in loss and intimacy and  - As well as discovery of the self, and a self executed awareness of the other in a societal commentary.