Un pa­ra­di­so da sco­pri­re

A Pa­ra­di­se Wai­ting to be Di­sco­ve­red

Abitare - - SOMMARIO - txt Cristiana Campanini pho­tos Marc Do­ma­ge

txt cristiana campanini pho­tos marc do­ma­ge

| Co­me la giap­po­ne­se Nao­shi­ma, l’iso­la fran­ce­se di Por­que­rol­les si ri­lan­cia at­tra­ver­so l’ar­te. Gra­zie alla col­le­zio­ne del ma­gna­te Édouard Car­mi­gnac, mes­sa in sce­na in una vec­chia vil­la pro­ven­za­le ri­vi­si­ta­ta dal­lo stu­dio gi­ne­vri­no GMAA. E nel parco idea­to dal pae­sag­gi­sta Louis

Be­ne­ch / Li­ke Nao­shi­ma in Ja­pan, the Fren­ch island of Por­que­rol­les is re­laun­ching itself th­rou­gh art. Thanks to the col­lec­tion of the ma­gna­te Édouard Car­mi­gnac, now on di­splay in an old Pro­ve­nçal vil­la re­vam­ped by the Ge­ne­va-ba­sed prac­ti­ce GMAA, and in a park laid out by land­sca­pe ar­chi­tect Louis Be­ne­ch

Il ma­re, i pro­fu­mi dell’iso­la e l’ar­te con­tem­po­ra­nea, da sco­pri­re muo­ven­do­si a pie­di tra i fru­scii del­la mac­chia me­di­ter­ra­nea. A Por­que­rol­les, di fron­te a Hyè­res, in Pro­ven­za, l’ope­ra spro­fon­da nel­la na­tu­ra che la do­mi­na. «È ne­ces­sa­rio aspet­tar­la, cer­car­la. Si ri­trae. Chie­de tem­po. Dev’es­se­re de­si­de­ra­ta, rag­giun­ta in bar­ca e poi a pie­di, ascol­ta­ta e in­fi­ne con­tem­pla­ta», ci rac­con­ta in to­ni poe­ti­ci e al­lo stes­so tem­po asciut­ti e ri­so­lu­ti Édouard Car­mi­gnac, ma­gna­te fran­ce­se dei fon­di d’in­ve­sti­men­to e col­le­zio­ni­sta di lun­go cor­so. Ba­squiat, a me­tà an­ni Ot­tan­ta, lo ri­trae­va in una dan­za sfre­na­ta, un’im­ma­gi­ne tri­ba­le ir­ri­tua­le per un ban­chie­re, che da al­lo­ra ha nu­tri­to una rac­col­ta di ol­tre tre­cen­to ope­re, fi­no­ra con­di­vi­se so­lo con i suoi di­pen­den­ti, tra cor­ri­doi e uffici in Pla­ce Ven­dô­me a Pa­ri­gi. Sull’iso­la, da una ter­raz­za sca­va­ta in un tetto a te­go­le smal­ta­te di un az­zur­ro cie­lo, la vi­sta è a per­di­ta d’oc­chio sul­la ri­ser­va na­tu­ra­le: pi­ni ma­rit­ti­mi se­co­la­ri e fi­la­ri di vi­ti ali­men­ta­no la pro­du­zio­ne Do­mai­ne La Cour­ta­de, con eti-

The sea, the scen­ts of an island and con­tem­po­ra­ry art, to be ex­plo­red on foot amid­st the ru­stle of the Me­di­ter­ra­nean ma­quis. On Por­que­rol­les, off Hyè­res in Pro­ven­ce, art­work sinks in­to na­tu­re, and is al­mo­st over­whel­med by it. As Édouard Car­mi­gnac, Fren­ch in­vest­ment ban­ker, fund ma­na­ger and long-ti­me col­lec­tor, tells us in poe­tic and at the sa­me ti­me dry and re­so­lu­te to­nes: “You ha­ve to wait for it, look for it. It dra­ws back. It asks for ti­me. It has to be de­si­red, rea­ched by boat and then on foot, li­ste­ned to and fi­nal­ly con­tem­pla­ted.” Ba­squiat, in the mid-eighties, por­trayed him in a fren­zied dan­ce, an un­con­ven­tio­nal tri­bal ima­ge for a ban­ker. Sin­ce then he has as­sem­bled a col­lec­tion of over th­ree hun­dred works, whi­ch up un­til now ha­ve been shared on­ly wi­th his em­ployees, in the cor­ri­dors and offices of his firm on Pla­ce Ven­dô­me in Pa­ris. On the island, from a ter­ra­ce, car­ved out of a roof co­ve­red wi­th gla­zed ti­les of a sky-blue hue, the view of a na­tu­re re­ser­ve stret­ches as far as the eye can see. There are an­cient ma­ri­ti­me pi­nes and ro­ws of vi­nes that sup­ply the gra­pes

chet­te d’ar­ti­sta. Sot­to di noi, una vil­la pro­ven­za­le è im­mer­sa nel pae­sag­gio. Hen­ry Vi­dal, in­ge­gne­re e in­du­stria­le, la co­struì mo­del­lan­do una col­li­na dal nul­la per do­mi­na­re il pae­sag­gio, sen­za ren­der­si vi­si­bi­le. Nel 1965 Go­dard vi am­bien­tò al­cu­ne scene di Pier­rot le fou. E qui Mon­sieur Car­mi­gnac ha inau­gu­ra­to a giu­gno il suo mu­seo per­so­na­le. Sca­va­to sot­to la vil­la per 2.000 me­tri qua­dra­ti, ha lu­cer­na­ri ina­spet­ta­ti e ac­qua­ti­ci, co­me il fon­do ve­tra­to di una pi­sci­na. Il pro­get­to è de­gli ar­chi­tet­ti Mouk­tar Fe­rou­dj e Sé­ba­stien Bi­lo­deau del­lo stu­dio GMAA, con ba­se a Gi­ne­vra. E in­ter­pre­ta la se­gre­tez­za del luo­go e del pa­dro­ne di ca­sa. Il cuo­re del­la rac­col­ta bat­te per la pop art, da Wa­rhol a Roy Lie­ch­ten­stein (Car­mi­gnac è il suo più gran­de col­le­zio­ni­sta in Eu­ro­pa, con quin­di­ci ope­re). Gli fan­no da con­tral­ta­re scel­te più istin­ti­ve e ra­re­fat­te, co­me di­mo­stra uno dei pro­ta­go­ni­sti, Mi­quel Bar­ce­ló, con una fi­gu­ra mo­struo­sa all’in­gres­so e un im­ma­gi­na­rio sot­to­ma­ri­no di­pin­to. Op­pu­re un mae­stro dell’ar­te con­cet­tua­le ame­ri­ca­na co­me Bru­ce Nau­man, con una fon­ta­na di cen­to pe­sci di bron­zo so­spe­si a mezz’aria. Tra le ven­ti ope­re si­te-spe­ci­fic da sco­va­re nel­la ve­ge­ta­zio­ne do­ma­ta dal pae­sag­gi­sta Louis Be­ne­ch, che ha già la­vo­ra­to all’Eli­seo e al­le Tui­le­ries, ci so­no i vol­ti al­lun­ga­ti in un’ana­mor­fo­si inaf­fer­ra­bi­le da Jau­me Plen­sa op­pu­re il di­pin­to di se­di­ci me­tri di Ed Ru­scha, uno stra­nian­te bill­board da hi­gh­way ame­ri­ca­na, il più gran­de mai rea­liz­za­to. «L’ar­te de­ve vi­ve­re con la na­tu­ra, de­ve so­prav­vi­ver­mi e con­ti­nua­re a cre­sce­re con nuo­ve ope­re che espri­me­ran­no il mio sguar­do, la mia ani­ma. Mi ha ispi­ra­to l’Iso­la di Nao­shi­ma, in Giap­po­ne, esem­pio al­tis­si­mo di mu­seo dif­fu­so nel pae­sag­gio». Per que­sto il pro­get­to chie­de ai vi­si­ta­to­ri an­che un ri­tua­le di pu­ri­fi­ca­zio­ne. ○

for his pro­duc­tion of Do­mai­ne La Cour­ta­de, wi­th its la­bels de­si­gned by ar­tists. Be­low, a Pro­ve­nça­le vil­la is im­mer­sed in the land­sca­pe. The en­gi­neer and in­du­stria­li­st Hen­ry Vi­dal built this pla­ce by mo­del­ling a hill out of no­thing so it could do­mi­na­te the land­sca­pe wi­thout being visible. In 1965 Go­dard set so­me of the sce­nes of Pier­rot le Fou in it, and it is he­re that Mon­sieur Car­mi­gnac ope­ned his per­so­nal mu­seum in Ju­ne. Hou­sed in 2000 squa­re me­tres of spa­ce ex­ca­va­ted un­der­nea­th the vil­la, it has unex­pec­ted and aqua­tic sky­lights, su­ch as the glass bot­tom of a swim­ming pool. The design is by the ar­chi­tec­ts Mouk­tar Fe­rou­dj and Sé­ba­stien Bi­lo­deau of the GMAA prac­ti­ce, ba­sed in Ge­ne­va. It re­flec­ts the se­cre­cy of the lo­ca­tion and the ro­le of the ma­ster of the hou­se. The heart of the col­lec­tion lies in Pop Art, from Wa­rhol to Roy Lie­ch­ten­stein (Car­mi­gnac is his big­ge­st col­lec­tor in Eu­ro­pe, wi­th fif­teen works). The­se works are ba­lan­ced by mo­re in­stinc­ti­ve and ra­re­fied choi­ces, as de­mon­stra­ted by one of the pro­ta­go­nists, Mi­quel Bar­ce­ló, wi­th a mon­strous fi­gu­re at the en­tran­ce and a pain­ted ima­gi­na­ry sub­ma­ri­ne. And there is the work of a ma­ster of Ame­ri­can con­cep­tual art li­ke Bru­ce Nau­man, wi­th a foun­tain of a hun­dred bron­ze fi­sh su­spen­ded in mid-air. Among the twen­ty si­te-spe­ci­fic works that can be trac­ked do­wn in the ve­ge­ta­tion ta­med by the land­sca­pe de­si­gner Louis Be­ne­ch, who has al­rea­dy wor­ked at the Ély­sée and the Tui­le­ries, are fa­ces elon­ga­ted in an elu­si­ve ana­mor­pho­sis by Jau­me Plen­sa and a 16-me­tre-long pain­ting by Ed Ru­sch, a di­scon­cer­ting Ame­ri­can hi­gh­way bill­board, the big­ge­st ever ma­de. As Car­mi­gnac ar­gues: “Art has to li­ve wi­th na­tu­re, it has to ou­tla­st me and con­ti­nue to grow wi­th new works that will be an ex­pres­sion of my ga­ze, my soul. I was in­spi­red by the island of Nao­shi­ma, in Ja­pan, a ve­ry fi­ne exam­ple of a mu­seum spread out in the land­sca­pe.”

In al­to, One Hun­dred Fi­sh Foun­tain di Bru­ce Nau­man, (2005). A de­stra, Not ti­tled yet (2018) di Mi­quel Bar­ce­ló. Nel­la pa­gi­na ac­can­to, la sa­la ri­ca­va­ta sot­to il fon­do ve­tra­to del­la pi­sci­na. In aper­tu­ra, l’ope­ra di Ugo Ron­di­no­ne Four Sea­sons (2018), nel parco del­la vil­la.Top, One Hun­dred Fi­sh Foun­tain (2005) by Bru­ce Nau­man. Right, Mi­quel Bar­ce­ló’s Not ti­tled yet (2018). Fa­cing pa­ge, the ex­hi­bi­ting room un­der the glass bot­tom of the swim­ming pool. Pre­vious pa­ges: Ugo Ron­di­no­ne’s work Four Sea­sons, in the vil­la’s park.

Da si­ni­stra: Sea of de­si­re (1984) di Ed­ward Ru­scha; Les trois Al­chi­mi­stes (2018) di Jau­me Plen­sa; La cou­vée (2018) di Nils-Udo. In bas­so, Edouard Car­mi­gnac con il fi­glio Char­les. Nel­la pa­gi­na ac­can­to, in bas­so, Mo­ther Na­tu­re (2018) di Olaf Breu­ning. From left: Sea of de­si­re (1984) by Ed­ward Ru­scha; Les trois Al­chi­mi­stes (2018) di Jau­me Plen­sa; La cou­vée (2018) by Nils-Udo. Bot­tom, Edouard Car­mi­gnac wi­th his son Char­les. Fa­cing pa­ge, bot­tom, Mo­ther Na­tu­re (2018) by Olaf Breu­ning.

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