|
Alain Kirili (born in 1946) is a French sculptor. He is recognized for his post-minimalist abstract sculptures in forged iron and his large-scale public sculptures. His work has subsequently been the subject of numerous gallery and museum exhibitions in America and Europe, and has received considerable critical interest from art historians, such as Thierry Dufrêne, Robert C. Morgan, Robert Rosenblum, and Kirk Varnedoe. Alain Kirili lives and works in Paris and New York. ==Early career== Alain Kirili was born to a French family in Paris. At the age of 19, during the course of his early artistic training, Kirili discovered (David Smith's ) sculptures ''Cubi XVIII'' and ''Cubi XIX'', exhibited at the Musée Rodin in Paris and was immediately inspired by the American sculptor's work. Kirili traveled to the United States that same year. During his stay, Kirili visited the major museum collections in New York, Washington, Baltimore, Philadelphia, Chicago, and Detroit, where he became interested in abstract expressionist painters. Barnett Newman became an especially influential figure to him. Alain Kirili met 1966 the Korean painter (Ungno Lee ) (1904-1989) in Paris. During this period, Kirili became part of the circle of intellectuals, writers and artists around Roland Barthes and the avant-garde literary magazine Tel Quel, Philippe Sollers and Julia Kristeva. His first solo show was at Sonnabend Gallery in Paris in 1972. Among other works, this show included a floor piece (''Untitled'', 1972; cut zinc sheet) which already contained many of the elements that would characterize his future practice. This work is reproduced in the exhibition catalog, and accompanied with a text by the French poet and art critic Marcelin Pleynet. Ileana Sonnabend introduced Kirili to Robert Rauschenberg, whom he credits with introducing him to important personalities in the New York art scene. Kirili had several shows at Sonnabend Gallery in Paris and Geneva before his sculptures were first exhibited in New York in 1976 at the inaugural show of the Institute for Art and Urban Resources (now MoMA PS1) and at the Clocktower Gallery in Lower Manhattan. In 1977, his was included in the Documenta VI in Kassel, Germany. That same year, he married the French photographer Ariane Lopez-Huici. In 1978 while traveling in India for the first time, Kirili was inspired by the Hindu concept of Yoni / Lingam, a sculptural representation of the feminine (Yoni) and the masculine (Lingam) forming a symbolic union in the manner of base and sculpture in Kirili’s work. In his article, ''Lingaistics'' published in Art in America in 1982, Kirili evokes more specifically the sexual and repetitive aspect of these abstract and highly symbolic religious objects.〔Kirili, Alain. (May 1982). ''(Lingaistic )''. New York: Art in America.〕 Kirili's first solo show in New York (1978) was held at Sonnabend Gallery where he exhibited a series of forged iron sculptures.〔 In 1979, the Museum of Modern Art (MoMA) acquired one of his pieces (''Indian Curve'', 1976) for the first time, the acquisition coinciding with his move to New York. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Alain Kirili」の詳細全文を読む スポンサード リンク
|