The underlying image, however, remained the same: a rainbow, which carries both social and spiritual positivism, and is closely associated with Gay Pride, but also forms part of our natural world. The works are “ambivalent and fluid – like a poem.” This, Rondinone says, was entirely intentional. Others though, including A HORSE WITH NO NAME, which stood over Matthew Marks gallery in New York in 2002, and KISS TOMORROW GOODBYE, which topped Rome’s Palazzo delle Esposizioni in the spring of 2001, were a little less so. Some, such as HELL, YES!, installed outside FA Projects, in London in 2001, or OUR MAGIC HOUR, which could be seen outside Sydney’s Museum of Contemporary Art in 2003, were positive and assertive. Over the following decades, Rondinone made 17 of these night rainbows. We were still impacted by the AIDS crisis at that time, and I felt it was important to make a gay positive public statement.” "And as a queer man I had my personal attachment to the rainbow. “I used a popular symbol, the rainbow, as a vehicle to charm the world with a poem," Rondinone says. The first of these rainbow creations, entitled CRY ME A RIVER, was created back in 1997. The simple message formed part of Rondinone’s ‘night rainbows’ series, as the artist tells Laura Hoptman, director of The Drawing Center in New York, in our forthcoming Contemporary Series Artist monograph. It read ‘LOVE INVENTS US’, and it stood over Galerie Hauser & Wirth & Presenhuber in Zurich in 1999. ![]() Or more accurately, a rainbow-coloured sign. ![]() Our new book reflects on the celebration of queer identity in some of the Swiss artist's best-loved worksĪt the turn of the millennium, when the artist Ugo Rondinone fell in love with the poet John Giorno, he made a rainbow. The positive message in Ugo Rondinone’s rainbows Installation view at Centre Pasquart, Biel, 1997.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |