Marion Verboom, Tectonies, 2019

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The artwork Tectonies was created for the exhibition Sculpture infinie: from antique casting to 3D digitization, successively exhibited at the Palace of the School of Fine Arts in Paris and the Calouste Gulbenkian Museum in Lisbon. It is mainly based on the representation of Greco-Roman elements such as the Omphalos of Delphi or the Roman Pinecone. It presents ornamental systems inspired by schematized vegetal and organic structures, like the honeycomb structure or the representation of a uterus, inspired by an Etruscan votive offering, or an Art Nouveau motif synthesizing floral and vegetal patterns, as well as a caryatid fragment. The gold patinas applied to the mold backgrounds generate a bronze coating with multiple nuances. The use of the golden tint applied to the monumental sculpture is inspired by an old chryselephantine monumental sculpture, the most famous but now lost, is probably that of Athena, which was in the Parthenon temple, covered with gold plates. The temple was built to house the statue of the goddess. The artwork Tectonies is composed of prints from ten different molds, ten sequences, which are assembled on two vertical axes in a game of permutations. "Theoretically, I was inspired by a reading of Rémi Labrusse in Gradhiva: Revue d’anthropologie et d’histoire des arts, on the opposition between the materialist vision of Gottfried Semper: 'The essence of architecture is not the building but the dressing. The vegetal ornament intervenes when the ephemeral ornaments used for the ancient festivities (garlands, crowns, trophy ribbons, etc.) that adorned the scaffolding were transformed into durable elements,' and the idealist vision of Karl Bötticher, a 19th-century architecture and archaeology theorist: 'Tectonics is based on the idea of an ornamental grammar. It leads to a revolutionary definition of construction, that is, of oneself and the properties induced by nature, following a law of infinite reflexivity.' - Marion Verboom, Presented by Galerie Lelong & Co.


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Presented by Galerie Lelong & Co. The artwork has been exhibited in Paris and Lisbon. Supported by Banque de Luxembourg.
Automatically translated from French.


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Ville-Haute Luxembourg




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  • 2024-10-22 2024-11-24 Europe/Paris Marion Verboom, Tectonies, 2019 The artwork Tectonies was created for the exhibition Sculpture infinie: from antique casting to 3D digitization, successively exhibited at the Palace of the School of Fine Arts in Paris and the Calouste Gulbenkian Museum in Lisbon. It is mainly based on the representation of Greco-Roman elements such as the Omphalos of Delphi or the Roman Pinecone. It presents ornamental systems inspired by schematized vegetal and organic structures, like the honeycomb structure or the representation of a uterus, inspired by an Etruscan votive offering, or an Art Nouveau motif synthesizing floral and vegetal patterns, as well as a caryatid fragment. The gold patinas applied to the mold backgrounds generate a bronze coating with multiple nuances. The use of the golden tint applied to the monumental sculpture is inspired by an old chryselephantine monumental sculpture, the most famous but now lost, is probably that of Athena, which was in the Parthenon temple, covered with gold plates. The temple was built to house the statue of the goddess. The artwork Tectonies is composed of prints from ten different molds, ten sequences, which are assembled on two vertical axes in a game of permutations. "Theoretically, I was inspired by a reading of Rémi Labrusse in Gradhiva: Revue d’anthropologie et d’histoire des arts, on the opposition between the materialist vision of Gottfried Semper: 'The essence of architecture is not the building but the dressing. The vegetal ornament intervenes when the ephemeral ornaments used for the ancient festivities (garlands, crowns, trophy ribbons, etc.) that adorned the scaffolding were transformed into durable elements,' and the idealist vision of Karl Bötticher, a 19th-century architecture and archaeology theorist: 'Tectonics is based on the idea of an ornamental grammar. It leads to a revolutionary definition of construction, that is, of oneself and the properties induced by nature, following a law of infinite reflexivity.' - Marion Verboom, Presented by Galerie Lelong & Co. Glacis square (Fouerplaatz), Ville-Haute Luxembourg Luxembourg Art Week
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