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acetate, along with the clear vinyl disc in an altuglass case which formed the base for a sculpture featuring three small mirrored cubes (convex, concave, and flat) reflecting three more altuglass cubes of decreasing dimensions (but which all appear the same size in the mirrors).32 The publication of Le chant de la carpe was marked by a joint exhibition at the Edouard Loeb gallery, Paris, which not only showed the book and objects, but also featured large-scale text in the gallery’s window and further works by Kowalski such as a ‘sonogram’ of Luca’s spoken voice (the title of his poem Passionément) — a visual mapping of sound waves that helped plot a vector in Luca’s work from idea to text to performance to image.33 An extraordinary object completed in 1966 had already synthesized these concerns in a complex and ambitious editioned sculpture, Sisyphe géomètre.

Fig. 3a. Sisyphe géomètre. See full caption below.

32

Colophon of Ghérasim Luca, Le chant de la carpe (Paris: Le soleil noir, 1973). Kowalski’s object relates to other works of the period such as the much larger three part mirror and neon sculpture Identité II, 1973; see Bailly, op. cit., 70–1. 33 See Gibus, “Ghérasim Luca et les livres,” op. cit., 30–32.

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Profile for Contra Mundum Press

Gherasim Luca Centenary Issue  

Essays and reflections in English and French on Romanian surrealist Gherasim Luca, including Luca's own texts and art. Also featuring rumi...

Gherasim Luca Centenary Issue  

Essays and reflections in English and French on Romanian surrealist Gherasim Luca, including Luca's own texts and art. Also featuring rumi...

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