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Casino Luxembourg

Exhibitions

Christian H .Cordes, Du Aber Bleibst (zu den Toten auf dem Friedhof in Clausen), 2001. Installation. © Christian Mosar.

Ian Hamilton Finlay, Ripple, 2001. Installation in situ, gravure sur ardoise. © Christian Mosar.

8.7 — 14.10.2001

Sous les ponts, le long de la rivière...

artist(s): Daniel Buren, Jacques Charlier, Christian Cordes, Patrick Corillon, Wim Delvoye, Jan Fabre, Ian Hamilton Finlay, Elsebeth Jørgensen / Sofie Thorsen, Ivana Keser, Won Ju Lim, Jill Mercedes, Ilona Németh, Olaf Nicolai, Daniel Roth, David Shrigley, Johnny Spencer, Joëlle Tuerlinckx, Luca Vitone
curator(s): Enrico Lunghi

The exhibition Sous les ponts, le long de la rivière..., organised by Casino Luxembourg in collaboration with the Musée national d'histoire et d'art, brings together eighteen artists on an itinerary through the Pétrusse and Alzette valleys, relating the Casino Luxembourg to the Fort Thüngen, the site of the future Musée d'Art Moderne Grand-Duc Jean.

The itinerary leaves from the Casino Luxembourg, which, for the purpose of the exhibition, functions as information centre. All the way moving almost through the heart of the city centre and the district of the European communities, yet all the while preserved from the urban, economic and political bustle, the visitor gradually discovers rich and multifarious landscapes and atmospheres treasuring just as many tales and stories: the Pétrusse valley separating the upper-town from the Plateau Bourbon, today prized by visitors for its verdant, romantic and enchanting settings, was once a strategic area of the ancient fortress; set on the banks of the river Alzette, the former industrial suburb of the Grund is today widely enlivened by countless cafés and restaurants.  

Rue Sosthène Weis, named after the Luxembourg post-impressionist painter, alludes to the many - mainly romantic - painters and writers like Johann Wolfgang von Goethe, Joseph Mallord William Turner and Victor Hugo, who had found in the fortress of the city a source of inspiration; the "Bockfiels" is said to have been the shelter of Melusina, the mermaid partaking in the myth of the city's foundation; the birthplace of Robert Schuman, the initiator of the ECSC (European Community of Steel and Carbon), announces the proximity of the European district and Luxembourg's European vocation; the itinerary finally leads on to the woods surrounding the site of the former Fort Thüngen where the visitor is offered a most contrasting panoramic view of the exceptional settings of the capital.

During their intervention on this circuit, in projects especially designed for this occasion, the artists will take into account the relationships between their work and a 'tamed' nature, the landscape transformed by man, the weight of history. Simultaneously each work contributes to a reflection on the integration of art within public space, on nature's artificiality, and on the importance of the historical context.

Naturally, the artists' projects are in way categorised and can only reveal their full potential when they are considered individually. But one might point out that if Jacques Charlier, Daniel Roth and Luca Vitone were more particularly inspired by the historical or legendary aspects of the City (the legend of Melusina, Pierre-Ernest de Mansfeld's fabulous renaissance château, and Franz Liszt's last public performance), Christian H. Cordes, Jan Fabre and Ian Hamilton Finlay have rather turned their impressions of the site into poetical evocations (time passing in an impregnable fortress, nature's regenerative powers, the persistence of fleeting moments); whereas the taming of nature and the tensions between public and private spaces are examined in very different ways by Daniel Buren, Elsebeth Jorgensen / Sofie Thorsen, Won Ju Lim and Joëlle Tuerlinckx.

Furthermore, Wim Delvoye has chosen to re-interpret, in the woods surrounding the city, the classical theme of the deer and the doe; Ivana Keser has used many Luxemburger publications as her basic material; Jill Mercedes, from the top of the Pont Adolphe, lets go of precious hearts in glazed earthenware; Ilona Németh sets out seven gigantic balls in a steeply sloping field; Olaf Nicolai has once more populated the valley with bees living in hives designed by contemporary architects; David Shrigley has built strange brick sculptures and Johnny Spencer is back from the future, totally robotised. Finally Patrick Corillon offers walking sticks to the visitors which, on arrival, will produce a drawing of the paths trodden, a pretty memento as well as being a metaphor of an impossible invisibility.

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partners

In collaboration wirh Musée national d'histoire et d'art and Ministère du Tourisme du Luxembourg.

With the support of Pricewaterhouse Coopers and DEXIA-Banque Internationale à Luxembourg / Fondation Indépendance and Ministère du Tourisme de Luxembourg.

images

Christian H .Cordes, Du Aber Bleibst (zu den Toten auf dem Friedhof in Clausen), 2001. Installation. © Christian Mosar.

Ian Hamilton Finlay, Ripple, 2001. Installation in situ, gravure sur ardoise. © Christian Mosar.

Ilona Németh, Balls, 2001. Installation in situ, 7 boules rouges en polyester. © Christian Mosar.

Jacques Charlier, Libérer Mélusine, 2001. Photographie. © Laurence Charlier.