Ugo Rondinone,   Soul,   Barbara Gladstone 2013 NY

Ugo Rondinone, Soul, Barbara Gladstone 2013 NY

E’ controversa la mia opinione su Ugo Rondinone. I giganti al Rockefeller Center non mi sono particolarmente piaciuti, mentre, funzionano meglio le versioni ridotte degli stessi nella sua personale ‘Soul’ da Barbara Gladstone. La grande sala dello spazio espositivo è stata letteralmente invasa da questi esseri silenziosi e immoti.  Soli, accoppiati, alcuni più tronfi, altri più slanciati. Nel loro insieme, potrebbero sembrare i tanti tipi umani che ci rappresentano. Senza volto ma ognuno con dei dettagli profondamente caratterizzanti.

Dei grossi tocchi di pietra blu sono stati impilati uno sull’altro per formare una figura umana. Senza abbellimenti, senza rifiniture, ogni pezzo sembra conservare la ‘mano’ di chi l’ha scolpito. Nella stanza degli specchi dove, ridondanti, i gigante si moltiplicano in diverse dimensioni, il silenzio è quasi palpabile. Ogni tanto, tra una spalla o una piega del busto, si nota del muschio.

Ugo Rondinone,   Soul,   Barbara Gladstone 2013 NY

Ugo Rondinone, Soul, Barbara Gladstone 2013 NY

Gladstone Gallery is pleased to present “soul, ” an exhibition of new sculptures by Ugo Rondinone. Rondinone has long embraced a fluidity of forms and media. Taken as a whole, his work represents a complex network of responses to social and physical structures. By allowing himself the freedom to work within a wide variety of disciplines and media, Rondinone creates the conditions necessary to explore a broad emotional range. His work has become widely recognized for its ability to channel both psychological expressiveness and profound insight into the human condition.

For the series of sculptures included in “soul, ” bluestone – the material out of which the works are made – has been rough-cut into blocks, which are stacked atop one another to form the human figure. The methods by which the stone has been worked are apparent to the viewer, and have not been obscured by subsequent handling. Visible traces, including drill-holes and split structures, evidence the work done at the quarry, where the blocks were removed from the ground. The work evinces the true nature of the stone: heavy and coarse material, marked by wind, weather, and corrosion. The simple presence and natural surface of the sculpture contrasts with the artificial surface of the poured concrete pedestals. The exhibition itself functions as a sort of hall-of-mirrors turned inwards. The stone figure is repeated and reflected in several scales, and installed in an immersive raw concrete environment.