An odd shape’s balanced movement caught in the middle of an abstract spin, and a gaze into an illusory bizarre world of dream-like atmosphere filled with unworkable modelled shapes; L&M gallery has set up a harmonized show exhibiting the work of peers Yves Tanguy and Alexander Calder. Whilst one works in abstract sculpture and the other in surrealist painting, they complement each other so perfectly, one starts to wonder whether they criss-crossed their work throughout the life of their friendly relationship.
The residential style windows of the gallery’s red brick facade reveal little of the interior content of the art home. We buzzed at the door, and were welcomed into the home of (currently) Tanguy and Calder. The squeaky floors seemed peculiar for an art gallery, but added a historic characteristic to a gallery that shows both older work as well as contemporary. The space, with its homey quirks was a perfect installation space with an organic staircase and spacious rooms. Nicole Hudson, a Simmons Alum, took us on a tour around the various rooms and spoke of the artists, the work, the installation, the close relationship of the work and the supposed influence of one on the other, as well as about the gallery and its chronicle. Nicole was knowledge-filled, and addressed various aspects of the exhibition, in anticipation of our questions. We found out about the Calder Foundation requesting the building of special white platforms to hold the sculptures (which provided a perfect canvas for the seemingly drawn shadows that were cast from the work), and why one room was painted a gray, standing in stark contrast to the other white (reason: to designate a period of their work).
Peggy Guggenheim had at one point worn a Tanguy earring in one ear and a Calder in the other – consequently providing the inspiration for this show. The actual pieces of both artists seemed to mirror each other, whilst also standing at opposite ends of the spectrum. The class oooh-ed at the Tanguys and marvelled at the Calders; visually absorbing their similar shapes set in real-space vs. surreal space. The different neighbourhoods created by the artists fashioned an odd, positive juxtaposition. Personally, I had issues relating to the dark imaginations of Tanguy, and his surrealist concept initiated a discomforting feeling, but despite my dislike I continued to engage and converse with the pieces, especially as the playful sculptural drawings of Calder touched a soft spot, and I really enjoyed looking at them. The adjacent positions of both artists’ work instilled a desire for dialogue with the work I admired, as well as the work I did not. Hence the show seemed to facilitate a conversation with an artist I would not have undertaken if I had seen his work on its own, as I might have dismissed it the moment I heard my own reaction. So in that regard, I am grateful. It was great to observe my own reactions changing and finding little positive quirks in the Tanguys I initially disliked.
An interesting experience, that left a lot to ponder over...
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