Oldenburg & Mehmet Ali Uysal
Friday, November 19, 2010
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H ome days I discovered the work of Mehmet Ali Uysal and reminded me of Oldenburg. Serve this post as a tribute to the clamp and to reflect on the lives of other objects, beyond their daily lives.
When Claes Oldenburg (Sweden 1929) built a giant clip in 1976 was becoming one of the icons of the twentieth century, replacing the equestrian heroes were in the streets, for the new heroes of capitalism, objects. That does not sound critical for me has done far more for our civilization Clothesline clamp that Christopher Columbus himself. Oldenburg
The clip, made of Corten steel, the fund had a claim to transcend time and the object itself. In fact inherits the pedestal of the statues, which gives the magnificence with only beings that transcend. Located in an unusual position and helped by its large size, it becomes a totemic representation reminiscent of Hercules and Cacus Renaissance work of Baccio Bandinelli, as both, with their blood contained, we display its power, its strength, but keeping away the gesture and timeless classic. Uysal
The clip, however, does its job, is "seizing the land." Is no longer built with quality materials, but the same as her younger sister, wood and steel. The goal is not to transcend Uysal, does not expect the clip is, "clamp" can not be justified by itself, but relies on its prey and that is why its location is what gives it meaning. You do not need a pedestal that magnify and become an icon, a hero, a symbol, but if you need the skin to be grasped. The objective of his intervention on the landscape is pinching, yelling. It is a work in action therefore needs their victim and their pain is needed and both display a specific setting, which represent the drama. This tension between the purpose and nature reminds me of Hercules and the neoclassical Cacus Antonio Canova. Here there is no contention, but openly display a confrontation, and in those moments there is no room for timelessness. These works, unlike those of us Bandinelli Oldenbug and live broadcasts of the event, right in the place where it is happening.
The clip, made of Corten steel, the fund had a claim to transcend time and the object itself. In fact inherits the pedestal of the statues, which gives the magnificence with only beings that transcend. Located in an unusual position and helped by its large size, it becomes a totemic representation reminiscent of Hercules and Cacus Renaissance work of Baccio Bandinelli, as both, with their blood contained, we display its power, its strength, but keeping away the gesture and timeless classic. Uysal
The clip, however, does its job, is "seizing the land." Is no longer built with quality materials, but the same as her younger sister, wood and steel. The goal is not to transcend Uysal, does not expect the clip is, "clamp" can not be justified by itself, but relies on its prey and that is why its location is what gives it meaning. You do not need a pedestal that magnify and become an icon, a hero, a symbol, but if you need the skin to be grasped. The objective of his intervention on the landscape is pinching, yelling. It is a work in action therefore needs their victim and their pain is needed and both display a specific setting, which represent the drama. This tension between the purpose and nature reminds me of Hercules and the neoclassical Cacus Antonio Canova. Here there is no contention, but openly display a confrontation, and in those moments there is no room for timelessness. These works, unlike those of us Bandinelli Oldenbug and live broadcasts of the event, right in the place where it is happening.
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| Uysal: "Clip ·, 2009 . Chaudfontaine Park, Belgium |
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| Oldenburg: "Pinza de la ropa" (1976). Philadelfia |
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| Hércules y Lichas (1815) de Canova |
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| and Cacus Hercules (1527) by Baccio Bandinelli |
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