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IN OUR GAME, OUR SOULS APPEAR BARE
IN OUR GAME, OUR SOULS APPEAR BARE
Christo followed Jeanne-Claude (+ 2009) on Pentecost Sunday 2020. The couple’s game with fabrics holds up a mirror to observers: It reveals the nature of our societies by covering their products.
Truth is never naked, as it arises in the mind of the observer. That is why beauty is in the eye of the beholder. Experience this phenomenon, both beguiling and real, with https://www.excellent-escorts.de/. Whether brilliant or captivating: Beneath the surface of our luxury escorts is the product of mind and body. Substances that dreams are made of engulf the animate and inanimate works of nature. They enshroud them with grace, mystery, and wonder. Imagination lives on the beauty of what is visible as well as what is hidden. The concealing covers are like the helium of the balloon from images of the invisible. Discover the fantastical contents in the near future with luxury escorts. Perhaps while following Jeanne-Claude and Christo’s footsteps into the future!
Representatives of culture and politics have encountered these spouses. The pair’s collaborations are remembered around the world: Their covers act as an antidote to society’s addiction to ogling. Both the animate and the inanimate appear elegant and impressive in the clothes of that art. It creates fashion at an enormous scale: trees, masses of water, islands, heavy bridges, voluminous buildings.
The magnitude of the artistic couple’s joint projects is astonishing. Transient packaging for objects, far beyond the practical, elicits spontaneous confusion. Its lasting value lies in the unsettling, in the rupture of understanding. Does the invisible object still exist? What did it actually look like? What does it look like under the cover? Do we miss it if it remains covered? Will we miss the transient cover? Should part of the concealed object remain hidden? Do disguised objects no longer age? Do we see the object differently after its unveiling? Does a veil capture or liberate beauty? What constitutes grace? What remains if it is missing? The surroundings of the exalted object also look different. That way, covers and their spatial context transform into transient art. Even when the object is naked again, it remains distinctive in the eye of the beholder.
In 2020, Christo’s own beauty left. He (* 13 June 1935 as Христо) and his wife Jeanne-Claude (born on the same day) lived their vision together: giving people perspectives – from and beyond the past.
Nature remains part of the art of the French woman from Morocco and the Bulgarian man. Water and earth as artificially covered elements emphasise timelessness. Thin covers moisten Lake Iseo (Italy 2016) or Pont-Neuf (Paris 1985) and quickly evaporate. Water remains. The motifs of large originals also reimagine Afro-European unity. That is how “The London Mastaba” grew: Oil barrels form a pyramidal structure in Hyde Park. The geometry of the cylinder led Christo to Germany both before and after Jeanne-Claude’s death. The same large gasometer served as the substrate for two projects in the Ruhr region: the city of Oberhausen saw “The Wall” in 1999 and “Big Air Package” in 2013. The latter was Christo’s first work without Jeanne-Claude’s contribution to the concept.
As the tallest exhibition hall in Europe, the container held a special sculpture: 90 metres high, weighing 5 tons. Its volume corresponds to a cube with an edge length of over 55 metres. The sculpture could be walked on and emulated a cocoon and a cathedral.
The complex topology of buildings and landscapes also drive covers into the abstract. This allowed Germans to see their decorated Reichstag differently in 1995: lighter and brighter. Wrapped Florida islands or the gates in New York City’s Central Park are hypnotising. That art may be described as a reduction to essence by the addition of substance.
As contemporaries, both artists connect our past and future. To achieve this, they spent much more time on planning each of their expensive projects than the actual lifespan of the project. Their sense of freedom also meant that they accepted no commissions or grants. That lack of attachments was self-evident: The artists sold documents of their projects, such as sketches and models. That way, every completed object remained an immobile gift to its region.
Christo exercised his own agility in his early twenties while on the run. Moscow’s implementation of communism and art do not appeal to the free spirit. He had stopovers in Prague, Vienna, and Geneva on his way to Paris. This is where Christo Vladimirov Javacheff and Jeanne-Claude Denat de Guillebon met. According to her, it was not art in general that initiated their connection but his art of love. In their mutual inspiration for covers, they then discovered each other up until her death.
1960 saw the birth of their son Cyril. Four years later, both artists moved to the US of the post-Kennedy era. As a couple, they created attractions between sculpting and painting as well as construction. They realised their projects internationally: France and Italy, Switzerland and Germany, England, the US, and Australia as well as Japan.
The creative couple endowed Germany with almost a third of their major works. They packed around 5,600 cubic metres of air there in 1968 (documenta IV, Kassel).
In July 2020, an exhibition on the work of that artistic couple will open in the Centre Pompidou, Paris. Christo had been making preparations to cover the Arc de Triomphe this year. However, the Covid-19 pandemic will probably delay the project until at least autumn 2021. Christo was working on that in his apartment in New York. He died there on 31 May 2020.
The adornment of the triumphal arch is still planned for next year. The path is not the goal, because there isn’t one. Christo Vladimirov Javacheff has always been clear on this: Things will always continue.
Obstacles are the norm in Christo and Jeanne-Claude’s projects. For some projects, they faced decades of hurdles. Short-lived problems are also a natural feature of great developments: materials being damaged by the elements; protests by residents and nature preservationists; high costs for area use; legal conditions. The European sense of survival (East) and optimism (West) overcome such tasks.
Working without Jeanne-Claude, Christo remained a “we beyond the I.” In this sense, the couple’s last contribution will be to wrap the Arc de Triomphe: 25,000 square metres of recyclable material in silvery blue, supported by 7 kilometres of red rope. That way, a modern tricolore will shimmer with the colours of Jeanne-Claude’s origin.
Like all statements in fabric, the act of concealing with technical effort always alludes to grace: Beauty can be supported by science and art at the same time. Christo enshrined those three concepts in a letter he wrote in 1958: “Beauty, science and art will always triumph.” That same year, Jeanne-Clause entered his life.
Finally, a tip for you from us: Just get to know Paris (again). Together with luxury escorts, experience the City of Lights in a particularly distinctive way – covered or otherwise.