Ariane, Messagère des Dieux
Alain Kirili

Gray cement, Compeix granite, sculpture 110 x 70 x 70cm, pedestal 110 x 50 x 65cm

Commande publique of the Ministère de la culture et de la communication (owner Syndicat mixte "le Lac de Vassivière") in 1990

Born in 1946 in Paris in France where Alain Kirili lives and works.

Alain Kirili’s work undeniably has its origins in statuary. He expresses himself through direct carving, modeling and casting. Forged metal, plaster, earth, cement and bronze are his preferred materia ls.

The positioning of this sculpture under the forecourt of Aldo Rossi’s building, at the entrance to the Art Center, is a strong sign that both shows the specificity of the Center, namely to receive works and foster contemporary art and establishes a clear contrast, by its volume, with the architectural ensemble of the metallic verticals. This abstract sculpture (albeit based on a living feminine model) is posed on a granite pedestal, the one used for the exterior facings of the Center which is an integral part of the work. For Kirili, this work charged with a heavy memory (as is Aldo Rossi’s) may evoke by its somewhat protuberant shape an enormous guardian head announcing the entrance to the building and protecting the exhibit room. In this way, Alain Kirili approaches the function of his sculpture to that of Rodin’s latino;">Saint John the Baptist, so judiciously placed at the entrance to the MOMA in New York.

Alain Kirili brutalizes the cement, imposing his strength and will, and lends his work a heavy title that refers and alludes to mythology: Ariane, messenger of the Gods. His sculptures function as an apology of the spirit, rhythm, a refusal of immobility and silence: “My sculptures are not objects but presences, living bodies” that can be looked at from the front, from the back, and from the side. Kirili’s work springs from a "non-amnesic expressionism" which bears the traces of a “profound memory of history and tradition, in relation with the unconscious". For Alain Kirili, modeling is the art of greatest subjectivity; in this respect, Ariane, messenger of the Gods ; is a fine testimony of this dominant interest in gesture, modeling, living and ecstatic flesh: the earth transformed into flesh is felt like a body.


Copyright: André Morin