D.he French sculptor Bernar Venet was already the Lord of the Rings when the literary multi-part series was hardly popular with us. Born in 1941 in Château-Arnoux-Saint-Auban, France, Venet planted the first of his multiple rings in often inhospitable urban landscapes as early as the 1960s. The constant preoccupation of our imagination, however, is shared by Venet’s sculptures with Tolkien’s books.
Because Venet gives the hard metal the most improbable shape; the iron does not build up tectonically firmly upwards, rather it swings, often in many rings one behind the other, always mocking gravity. If you look into the “tube” of staggered circles in a typical plastic Venet, you almost think you are watching manifested sound circles propagating in space. While Gustave Eiffel and other architectural steel sculptors used this material in their towers and bridges in the nineteenth century to push the boundaries of what could just be built, Venet completely freed his iron sculptures of purpose and function and set them free in public spaces.
Natural made of corten steel
His favorite material iron, taken from nature, returns to it through deliberate oxidation processes. About the “points” called sawn-off tree stumps made of rust-brown-red cast iron, in which against overly large naturalSimulation the word “Point” is embossed on the smooth surface of the stems, in the worst case one could stumble; In parks and on many urban squares in Europe, they set counterpoints to a strange marriage of nature – the chapped bark of the tree stumps – and the pure geometry of the perfectly circular “cut surface” above.
A penchant for mathematical and geometrical things can often be found in Venet’s succinct work titles, for example at “229.5 ° x 4” in the Kunsthalle Darmstadt with four rings ending shortly before two hundred and thirty degrees, the complicated astronomical astrolabe with planetary orbits or one, placed closely one behind the other Plant a staggered opening flower in the Darmstadt museum.
In general, it seems that Venet’s sculptures are more common in Germany, at least more widely represented at the federal level than in France. In front of the theater in Duisburg, his “5 Arcs x 5” welcomes visitors and prepares them like an oversized and bent tuning fork for the idea of how the students at Frankfurt’s Goethe University will be attuned to the lectures by Venet-Ringen. The “Points” from 2013 in Kronberg, Hesse, the iron rings in Baden-Baden, in front of the Würth Museum Erstein in Alsace and the “Arc de 124.5 °” donated by the French state to Berlin for the 750th anniversary in 1987, a reinterpretation of the ancient triumphal arches weighing fifteen tons are also immediately recognizable trademarks.
The fact that he knows how to play on public stages in an expansive and formative manner is probably due to his first activity, even before his artistic training in the narrower sense: In Nice, he studied from 1958 at the municipal school for creative arts and then worked as a set designer there until 1963 Opera. Today the lord of the iron calligraphy arabesques in the room and the deceptive tree plates turns eighty years old.
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