We recently referred to an article by Aica Caraïbe du Sud on the new space in which Hervé Télémaque’s exhibition is housed at Fondation Clément [see previous post Art Exhibition: Hervé Télémaque at Martinique’s Fondation Clément], an interesting review on the original architectural additions at the foundation’s art center (located at Habitation Clément in Martinique). In another recent article, AICA centers on the sculpture gardens on the grounds of the Clément Foundation. Here are roughly-translated excerpts from “Balade dans le parc de sculpture de la Fondation Clément” :
Those of you who are faithful follower of art exhibition openings, who teach visual arts, who are traveling in the Caribbean, do you know the sculpture park at the Fondation Clément? After visiting the architectural heritage of Habitation Clément, the 18th century home and its adjunct structures, kitchens and stables, after you have been introduced to the manufacture of rum at the information center, after admiring contemporary works exhibited in the contemporary eight hundred square meter building designed by Reichen and Robert & Associates, allow yourselves a few moments of pastoral serenity and artistic contemplation in the sculpture park.
Blood, by Thierry Alet, was the first sculpture, installed in 2013. It was designed and built specifically for the OMA exhibition produced in 2011 by the Clément Foundation on the occasion of the Year of Overseas Departments. [. . .] This sculpture, inspired by a verse of the poem “Rappel” [Reminder] by Léon Gontran Damas—“Il est des choses dont j’ai pu n’avoir pas perdu tout souvenir” [There are things of which I have managed not to have lost all memory]—recalls the Caribbean’s painful past.
The Dimensional Mirror Labyrinth by [Danish artist] Jeppe Hein—at the same time sleek, minimalist and playful—is quite irresistible [see photo above]. It constructs and deconstructs space while blending into the foliage it reflects. The spectators add to it with their presence. Through a set of mirrors arranged around the space, the installation directly engages the visitors. The mirrors reflect, not only visitors and the surrounding landscape, but also offer a reflection of the neighboring mirrors while the real space remains visible between the vertical blades. This multiplied and fragmented vision disrupts spatial- temporal landmarks and is disorienting. One sees images appear without really understanding where the originals are located.
The gathered figures of Christian Lapie (France), a cohort of timber giants, totemic, unchanging, primeval, unsophisticated, are like unfinished ghostly sentinels but with a strong physical presence [see image immediately above]. The blunt carvings—with ax and chainsaw—on wood that has been heated and burned, and then treated in a rudimentary way with pressed linseed oil, allows for visible nicks and crevices. These prophetic tribes travel the world but condescend to a pause in the shade of exceptional sites in Virginia, Canada, Switzerland, Cameroon, Poland, Japan, India, France, England, and here, in François.
Do they not come seem to come into play and have a connection with the sculptural installation Luz Severino (Dominican Republic)? [See image below.] Let us visit it together. [. . .]
For full, original article (in French), see http://aica-sc.net/2016/01/23/balade-dans-le-parc-de-sculpture-de-la-fondation-clement/