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CHRISTO AND JEANNE-CLAUDE

كريستو وجين كلود
克里斯托和珍妮 – 克劳德
크리스토와 쟌느 끌로드
כריסטו וז’אן קלוד
クリストとジャンヌ=クロード
КРИСТО И ЖАННА-КЛОД

Fondation Beyeler and Berower Park

source: cheaptripru

Болгарин по происхождению, американский художник и скульптор Христо Явашев (англ. Сhristo, Hristo Yavashev) со своей женой Жанной-Клод Дена де Гийебон (фр. Jeanne-Claude Denat de Guillebon) еще полвека назад стали известны во всем мире благодаря своим необычным арт-проектам. «Упакованные» автомобили, мосты, деревья, острова, здание Рейхстага, морское побережье и не только. Сайт художника
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source: christojeanneclaudenet

Starting on Friday, November 13, 1998, 178 trees were wrapped with 592,015 square feet (55,000 square meters) of woven polyester fabric (used every winter in Japan to protect trees from frost and heavy snow) and 14.3 miles (23 kilometers) of rope. The wrapping was completed on November 22.

The trees are located in the park around the Fondation Beyeler and in the adjacent meadow as well as along the creek of Berower Park, northeast of Basel, at the German border. The height of the trees varied between 82 feet (25 meters) and 6.5 feet (2 meters) with a diameter from 47.5 feet (14.5 meters) to 3.3 feet (1 meter).

The project was organized by Josy Kraft, project director and by Wolfgang and Sylvia Volz, project managers, who also surveyed the trees and designed the sewing patterns for each tree. J. Schilgen GmbH & Co. KG, Emsdetten, Germany, wove the fabric. Günter Heckmann, Emsdetten, Germany, cut and sewed the fabric. Meister & Cie AG, Hasle-Rüegsau, Switzerland, manufactured the ropes. Field manager Frank Seltenheim of Seilpartner, Berlin, Germany, directed eight teams working simultaneously: ten climbers, three tree pruners and twenty workers.

As they have always done, Christo and Jeanne-Claude paid the expenses of the project themselves through the sale of original works to museums, private collectors and galleries. The artists do not accept any sponsorship.

The wrapping was removed on December 14, 1998 and the materials were recycled.

Christo and Jeanne-Claude have worked with trees for many years: In 1966, Wrapped Trees was proposed for the park adjacent to the Saint Louis Art Museum, Missouri, and the permission was denied. In 1969, the artists requested permission for Wrapped Trees, Project for 330 Trees, Avenue des Champs-Élysées, Paris. This was denied by Maurice Papon, Prefect of Paris. The Wrapped Trees in Riehen were the outcome of 32 years of effort.

The branches of the Wrapped Trees pushed the translucent fabric outward and created dynamic volumes of light and shadow and moving in the wind with new forms and surfaces shaped by the ropes on the fabric.
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source: weaspeople

An epic collaborative force Christo and, the late, Jeanne-Claude are an environmental installation art team. Their work is defined by enormous site specific installations that are incorporated into the landscape as a way to reinterpret and see an area in a new light. They have been making work for decades and their art making process is an collaborative dance between sticking to their vision and convincing communities and landowners to let them bring their amazing ephemeral works to life. None of their work is permanent and all that is left after the installation is taken down is a handful of photos, preliminary drawings and memories.

Christo on his work says, “I think it takes much greater courage to create things to be gone than to create things that will remain.” I believe it is because of the fleeting nature of their work that they continue to produce and expand their installations to this day. There are no walls to contain them and no museums to restrict them.
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source: catracalivre

Ilhas em Miami cercadas por tecidos gigantescos, parte da costa sudeste de Sydney coberta por fibras sintéticas e 7.503 portais instalados no Central Park de Nova York. Esses são alguns dos trabalhos encontrados no livro “Christo and Jeanne-Claude”, lançado pela editora Taschen, que reúne catálogos, críticas, entrevistas e biografias dos dois artistas. O texto fica por conta de Paul Goldberger, crítico de arquitetura da revista “The New Yorker” e vencedor do prêmio Pulitzer.

A dupla Christo e Jeanne-Claude, parceiros desde 1961, desenvolveu um conceito que mistura arte conceitual, arquitetura e engenharia. Suas instalações demandavam meses de preparação e chegavam a envolver centenas de pessoas.

Além do lado profissional, essa publicação oferece uma visão detalhada das vidas de Christo e Jeanne-Claude, desde desenhos antigos e fotos de família a imagens nunca publicadas e planos para futuros projetos. Outro personagem importante da obra é Wolfgang Volz, fotógrafo que começou a trabalhar com os artistas em 1971. Sua colaboração resultou em livros e mais de 300 exposições em museus e galerias ao redor do globo.

Por ter edição limitada (apenas mil cópias), o livro é integralmente disponibilizado neste link para que todos tenham livre acesso a seu conteúdo.
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source: inspiroonet

Niezwykłe projekty tworzone przez niezwykłą parę. Christo & Jeanne-Claude zasłynęli ze spektakularnych instalacji, które konstruowali na całym świecie. Artyści opakowywali słynne budowle oraz miejsca. Ich monumentalne pomniki wskazywały na przelotną naturę otaczających nas rzeczy, zjawisk, gestów. Instalacje trwały kilka dni, najwyżej tygodni. Ta symbolika nabrała jeszcze mocniejszego wydźwięku dla Christo, gdy Jeanne w 2009 roku zmarła. Serdecznie polecamy!
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source: arhitectmediaro

“Nimeni nu discuta despre o pictura înainte ca aceasta sa fi fost pictata. Proiectele noastre sunt discutate si sustinute pro sau contra, inainte ca acestea sa fie realizate.” -Christo

Opera artistilor Christo si Jeanne-Claude transcende frontierele, rezista clasificarii si imbratiseaza contradictia. Acest album realizat de editura Taschen, este singura carte in format mare, care include toate proiectele lor, din1958 pana la lucrarile temporare de arta, urbane si rurale, cum ar fi Gates in Central Park, Wrapped Reichstag din Berlin, si Running Fence in California. Parte biografie, parte analiza critica si parte catalog, cartea are un text plin de viata, scris de criticul Paul Goldberger, despre viata si operele unui cuplu de artisti, care si-au stabilit propria lor categorie: o categorie undeva intre arta conceptuala, planificare urbana , arhitectura, politica, inginerie si arta.

Acest volum cuprinde sute de fotografii nepublicate anterior, desene si planuri de lucrari realizate, o istorie incisiva si detaliata care acopera intreaga opera, si interviuri in profunzime, intr-o editie generoasa proiectata de Christo insusi. Cartea include si transcrierea unei conversatii dintre artisti si Goldberger Paul, ultima conversatie despre lucrarile lui Jeanne-Claude, inainte de moartea acesteia, la sfarsitul anului 2009. Conceputa initial pentru a marca aniversarea a 75 de ani ai lui Christo si Jeanne-Claude, aceasta carte este un omagiu elocvent adus lui Jeanne-Claude, si o celebrare a muncii a doi artisti, a caror imaginatie a afectat peisajul din fiecare continent.
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source: josephineb

Christo Vladimirov Javacheff nació el 13 de junio de 1935. Jeanne-Claude Denat de Guillebon también nació el 13 de junio de 1935. Se conocieron en el año 1958 en París y formaron una alianza artística y amorosa. Además de fundar su empresa de arte, se casaron.

Christo & Jean- Claude se dedicaron a intervenir paisajes, a realizar obras a gran escala. Dentro de sus trabajos más reconocidos se encuentran la intervención al Reichstag en Berlin, el Pont- neug en París, Running Fence una obra que llegó a ocupar 39 km de largo en Sonoma, Marin en California y The Gates en el Central Park de Nueva York.

Hasta 1994, sus obras eran conocidas bajo el nombre de Christo. A partir de ese año fueron Christo y Jean-Claude.

Un dato curioso: volaban en diferentes aviones para que se pudiera continuar con con el trabajo en el caso de que alguno de los aviones estrellara.

Su trabajo era visualmente impresionante y a veces controversial. Sin embargo, los artistas han negado en varias oportunidades que sus obras tenían un mensaje secundario. Lo que buscaban era una reacción genuina; les interesaba el impacto inmediato al observar su arte.

Para ellos era simplemente eso: arte, juego, belleza y nuevas formas de ver al paisaje.

Su arte era efímero, luego de largos periodos de armado y montaje, sus obras desaprecian. Una vez finalizado el proyecto quedaban sólo los bocetos.