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In
conjunction with the Portland Art Museum’s current exhibition “Christo
and Jeanne-Claude: The Pont-Neuf Wrapped, Paris, 1975–85,”
the Film Center is pleased to present a survey of fascinating films documenting
some of their most poetic projects. The Christos have created a number
of the most visually breathtaking works of the 20th century using fabric
in, over, through and around natural and constructed forms, fashioning
a body of artwork that transcends the traditional boundaries of painting,
drawing, sculpture and architecture. Christo and Jeanne-Claude will be
on hand to answer questions after the screening of David and Albert Maysles’
RUNNING FENCE. |
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Taking the experience of “Valley Curtain” (see Sept 12) and
expanding on it, Christo and Jeanne-Claude’s next major project
was “Running Fence,” an 18-foot high white nylon curtain fence
that ran 24 miles across the undulating Sonoma and Marin county hills
in Northern California before plunging into the sea. Wryly capturing the
multiple points of view on the definition of art, artists, creativity,
perception, values, bureaucracy and the American political process, the
Maysles document all phases of the ephemeral project with delightful results.
“Twentieth-century art is not a single individual experience. It
is the very deep political, social and economic experience I live right
now with everybody here.”—Christo. (58 mins.) Christo and
Jeanne-Claude will INTRODUCE the film.
Five hundred feet high and a quarter-mile long, the bright orange curtain
strung across Rife Gap, Colorado, capture the imagination of arts and
non-art audiences in a way no work before it ever had. Unfurled only briefly
before the wind ripped it away, the intertwined process and product of
this artistic and engineering feat was captured by the Maysles with savvy
zest. (27 mins.)
Christo and Jeanne-Claude
met in Paris in 1958, beginning an extraordinary partnership that reached
its climax with the wrapping of the Reichstag (the German parliament)
in Berlin in June 1995. In Blackwood’s portrait, the indefatigable
duo reviews all of their main projects since 1958 beginning with the wrapped
objects and discussing in detail the struggle to obtain permission for
the "Wrapped Reichstag,” which took more than 20 years to realize.
(58 mins.)
For “Umbrellas: Joint Project for Japan and U.S.A, 1984–91,”
Christo and Jeanne-Claude chose sites with contrasting cultures: a farming
valley in the Japanese province of lbaraki and a cluster of cattle ranches
in the rolling hills of southern California. In October 1991, 1,340 blue
umbrellas unfurled in the dense green foliage in Japan. Across the ocean,
1,760 yellow umbrellas burst open on dry, golden-colored grass. UMBRELLAS
candidly presents the compelling personal reactions to a tragic death
at the California site. Later, during the removal of the umbrellas, an
electrical storm took the life of a Japanese construction worker. Like
life itself, Christo's art has, in his own words, "a profound dimension
of irrationality." (90 mins.)
Christo and Jeanne-Claude 's first grand-scale urban project wrapped the
Pont Neuf, the oldest bridge in Paris, with more than 440,000 square yards
of golden sandstone fabric while attracting more than three million visitors
during its brief two-week life. The filmmakers gracefully use the same
bridge (where Christo first courted Jeanne-Claude 30 years earlier) to
tell a pair of vivid love stories—one between a refugee artist and
a French General's daughter, and one between a 400-year-old bridge and
the people of Paris. (60 mins.)
“Wrapped Reichstag, Berlin, 1971–95,” the most ambitious
of the artists' wrapped buildings, represented perhaps the greatest challenge
and achievement in Christo and Jeanne-Claude’s career. The Hissen
Brothers follow the 24 years of vision, planning and execution it took
to wrap this symbol of German democracy, a feat that took 54 visits to
Germany, more than a million square feet of fabric, 51,000 feet of rope
and the skill of 90 professional climbers and other equally mind-boggling
marshalling. (98 mins.)
Considered their most painterly project for its planarity, “Surrounded
Islands, Biscayne Bay, Greater Miami, Florida, 1980–83,” involved
floating 6.5 million square feet of bright pink woven polypropylene fabric
on the water around 11 islands in Miami's Biscayne Bay. Thwarted by hostile
bureaucrats who attempted to stop their project at every turn, Christo
speaks eloquently of the time-related nature of their works that gives
it an urgency not found in museum exhibits and about art as “experience”
rather than “product.” (57 mins.) With CHRISTO & JEANNE-CLAUDE
(See September 12 for details) |
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