Mirrors and Totems...
9:30 a.m.06/14/24 - Last January, Patricia Low's gallery in Gstaad brought together two artists in the same exhibition. One of them, the highly consecrated Michelangelo Pistoletto (Biella, Italy 1933), who is considered an essential element of Arte Povera, a visionary who invites us in each of his works to understand a little more about the world around us. The other Pascale Marthine Tayou (Cameroon, 1966), who works with materials from various origins. Édouard Glissant described his works as a “mixture of arts and languages that produces the unexpected […]. A space where dispersión allows for connections, where cultural clashes, disharmonies and disorders and interferences become creative forces.”
Alternative Centers, by Michelangelo Pistoletto & Pascale Marthine Tayou
Patricia Low Contemporary
Alternative Centers, by Michelangelo Pistoletto & Pascale Marthine Tayou
Patricia Low Contemporary
Alternative Centers, by Michelangelo Pistoletto & Pascale Marthine Tayou
Patricia Low Contemporary
What is the result of such a meeting? Both have an element in common: glass, whether mirrored or in transparent bubbles, so in all the rooms Tayou's totems are reflected in Pistoletto's intervened mirrors. Dialogue is inevitable. The connection exists, furthermore, despite the fact that the works are so disparate in their forms and cultural background. The Cameroonian artist's transparent totems reveal the spark of his culture of origin through color and movement, but the use of found materials links him to the master of Arte Povera.
Color and Light, by Michelangelo Pistoletto (2023)
Material: jute, mirror, gilded wood 5 elements / Dimensions: 180 x 120 cm each / 180 x 600 cm total
Poupée Pascale, by Pascale Marthine Tayou (2023)
Material: crystal, mixed media / Dimensions: 98 x 81 x 28 cm
The omnipresence of the mirrors that Pistoletto uses as a medium, intervened in colors and also in black and white, reflect Tayou's forms infinitely but at the same time in a fragmented way. Not only is the fragmented image of the sculptures reflected, but so is ours. The transparency of the totems does not allow us to avoid our figure in all the galleries. We are there, with the artifacts that force us to look at them and look at each other.
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