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Since 1975, the two artists have developed the idea of wrapping the so-called “new bridge” Le pont neuf in Paris (today it is the oldest bridge in Paris) with a polyamide canvas in the color of golden sandstone, covering the sides and the upper part of the twelve arches, barriers and edges of the bridge. Sidewalks and all things and equipment on the bridge (pedestrians can walk on canvas).
This huge exhibition dedicated to Christo and his wife records the history of this project (The New Bridge 1975-1985) and dates back to its Parisian period between 1958 and 1964, before packing or wrapping the Arc de Triomphe expected in 2021. These two Artists belong to the “Art of the Earth” that began in America before its composition includes a large group of artists from around the world, knowing that it is a conceptual art associated with artistic modernity in the twentieth century. All work contained in this art is a concept and a symbol, where the purpose behind it is to draw attention to nature and the settings and influences it contains, as well as to denounce an environmental problem that threatens our lives. They are sculptural works, differing in their concept from the ordinary sculpture we know, showing the three dimensions of the work of art.
For Land Artists, the world and the entire universe is professional; Deserts, valleys, mountains, forests, rocks, snow, fields and everything that nature offers us of the things that the artist uses in his works.
Land Art contains a large and diverse group of diverse artistic forms and directions. It is a montage and performance that the artist performs in nature, without forgetting that the Earth artist imitates and simulates works known to past human civilizations with the difference in concept between the two: the first performs purely artistic works. As for the second, the works were part of his intellectual and existential belief.
Christo Javachev was born on June 13, 1935 in a Bulgarian family. On the same day, his wife, Jean-Claude, was born in Casablanca (in Morocco) into a French royal family. His mother was a secretary at the art school where he studied and his father was a chemist. His father died when he was ten years old.
He studied painting, sculpture, architecture and design (classical study) at the Sofia Art Academy. He fled communist Bulgaria, arriving in Paris in 1958, which he had always dreamed of. There he met Jean-Claude, married her and they had a baby. For Christo, anything can be valuable for art.
Despite his classical studies, Christ skipped him by skipping the painting on the easel. His Parisian years would be the course of his linguistic and artistic language: working on bumps on the supporting surface, stacking, storage, beginning of hidden facades, and in cooperation with Jean-Claude, he developed construction projects abroad.
Upon his arrival in Paris, Christ painted oil portraits on canvas for families in the velvet community, with the aim of earning money for their livelihood. At that time, small metal cans and cylindrical bottles were wrapped with a cloth surrounded by threads fixed with chewing gum (red in color) to give them rigidity. Subsequently, this research was transferred to the home furnishings as work items, then to the battery entitled Son Inventaire, and also used other techniques such as papers on grooved canvas to give them the character of chance by freezing them through folds in which the rubber Chewing plays an important role, with the addition of colors. Sand and dust can be added to give it a “tragic” character.
So the first thing Christo started in Paris was packing small and simple things, and everything he saw in front of him, without purpose or goal. And it continued to envelop it until it enveloped the cultural landmarks of buildings, bridges and roads, considering them an environmental rudeness that it wanted to hide for a time. For him, the purpose of this work of art is not in the packaging, but in reconstructing and creating new things and images using in that environment and the effect of the movement of light and wind on the canvas.
Christo classifies his works as precious, valuable and perishable at any time. That is why it is necessary that he, and all who see it, enjoy it and look at it carefully before it ends and disappears.
Christo was very attached to the job and the place where it was being done, but never worried about its disappearance. Trust that this work will remain in the memory of all who see it, either personally or through television, newspapers or photographs.
As the plastic artist who resorted to drawing the blueprint or quick planning of any artwork he wanted to implement, Christo used to implement preliminary studies of the artwork. These studies can be done on paper (collage, charcoal, lead, ink) or they can be three-dimensional. Before the execution of the work and its presentation, Christo used to make an exhibition with these studios, which sometimes exceed seventy studios, and are sold at exorbitant prices, since their value increases as soon as the labor supply ends and it becomes a mere memory in photographs, newspapers and the media.
Christo spent almost twenty-one years of his life implementing and planning the same project without getting bored or bored. As for the objective, it was nothing more than to introduce something new and special. In fact, this is what sets his company and his wife, Jean-Claude apart.
It is very easy to see the envelopes of Christ from beaches, buildings and bridges, but it is hard to believe the enormous amount that he pays for his achievement, which can reach tens of millions of dollars.
Wrapping things up with the intention of hiding them as a protest against human intervention in nature.
Some of these projects include: Running Fence California, which cost 2.5 million dollars, and the “umbrella” project in Japan and California, which cost 26 million dollars!
When the sun rose on October 9, 1991 in the steep hills of “Paso Tiguan”, 69 kilometers north of Los Angeles, a huge canopy from 1760, twenty feet high and 8.66 meters in diameter, began to open as fast-growing flowers, covering a land length of 29 km. Hours before the event, we see the same phenomenon repeated with 1,340 blue umbrellas 120 km north of Tokyo in Japan near the Sato River, with an extension of 19 km. As for how Christ was able to participate in the two events, this is due to the use of the airplane to move between the two places.
The blue color of the umbrellas combines well with the rainy climate of the area in which they are located, the rice fields and the green of the fields, while the bright yellow color of the Californian umbrellas arid plants arid lands and cattle farms with bright spots . Christo says that he wants to integrate the different cultures and ways of life between these two countries. Christo used to say that he is paying his life for his business, and the most precious things he has are not comparable to the glory in front of one of his projects, he once said.
In the 20th century, the environment and the earth had their share of artistic trends through astonishing innovative works such as that of the earthly arts. Besides them, there are Christo Javachev and his wife, Jean-Claude, who have a huge and simple artistic talent. Looking at nature as an environmental nudity of the human victim, they wrap things up with the intention of hiding them as a kind of protest against man’s interference in nature and its distortion, as we have seen in the works we mentioned. Artists of the earth like Christo and his ilk have left the gallery, the museum and the professional towards deserts and fields, where the artist transforms the world. Create or create new scenes. The job is temporary and fleeting, as are Christo, his wife, and others. Christo considered anything that could be of value to art. He wrapped things, imitating pop art artists, until he ended up wrapping everything he saw and getting to know it, considering it an environmental stumbling block that should be retained or hidden, even for a while.
Christo’s works are puzzling and questionable. It is a great adventure similar to the adventures of a person who is always looking for the new and the impossible, even if the matter costs a lot of money and enormous effort. Isn’t the greatness and importance of art here?
* Artist and plastic researcher
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