SHARING WITH ME

The Gallery THADDAEUS ROPAC , which I have already visited with Laurent and Jerome , is really off putting. It’s on the outskirts of Paris but at least 20 minutes walk from the Metro. Apart from one sign, there is nothing else to indicate how to find it. I would be quite lost without my friends. You really have to want to see the exhibition - and we did. Antony Gormley which I had recently seen in the Marais with Michel (A BLISSFUL DAY OF DISCOVERIES ) . But these huge pieces would be difficult to house in a Parisian Gallery. The first exhibition space is occupied by the work « Hole », a four-metre-high model of a house as a body. This work shows the relationship between a human body and a house. I actually just saw a woman - hardly a house. That doesn’t matter. Another way of looking The Hole and looking inside In the second gallery space the installation is called « Expansion Field ». The sixty sculptures that constitute this piece are arranged in four rows;constr

Antonio DONGHI, Cirque équestre,1927 At the Bonnard exhibition last week, I saw this poster and knew nothing about the exhibition at all. The poster was enticing don’t you think? I glanced through the catalogue when we were in the shop and decided that I would come back to see it. This would be the first time that I would see an Exhibition of Italian art which panned over 40 years. Vittorio Zecchin, Les Mille et Une Nuits, around 1914 In Italy in the early twentieth century the decorative arts were used to interpret the desire for progress of a nation that had only just found its unity. Cabinetmakers, ceramicists and glass-makers all worked together with the leading artists, creating a veritable "Italian style ». Bénitier, Fontaine sainte, 1921 Domenica Baccaini, Vase Envol de femmes,1909-1910 Adolfo Wildt, Auoportrait, 1909 Chaise pour le salon escargot , 1902 Elephant, 1934-35 Umberto Bellotto, Bottle, 1922 This period of e