At th
e entrance, rue de Rivoli, I was greeted by three nudes from Anthony Gormley. Tourists were making pictures of their wives next to the sculptures, accompanied by a few salacious remarks. The sculptures, isolated, are loosing their significance in this setting. The installation in New York City was powerful, giving a new dimension to the site.Methodically, I started from the bottom of the Tuileries, and
was immediately surprised by the few works on display compared to the past years. "La Somme des Hypotheses", a work from Vincent Mauger, ecological, is pleasing to look at but brings little controversy. The biggest talk should be about the sculpture from Adrian Villar Rojas, an Argentinian sculptor well-received in Paris. 
A long round, plastery piece, ending in the artificial pond interrupts my walk. It represents the ruins left from a future civilization and brings a reflection about the end of humanity. The work is short lived and will be destroyed at the end of the exhibition. Not too cheery.Farther down the path, a sculpture made of copper is shining in the sun, abandoned, flat, rendered lifeless by the clouds ("We The People, Dan Vo, 2011).
A work from Navid Nuur is a distant cousin from Robert Tannen's, well-known artist in New Orleans: a stone brought by the gallery from Amsterdam. The only gesture from the artist is spraying metal dust on the top of it... another story about time and decay. A sculpture from Urs Fisher, Swiss artist now living in the United States is defying the laws of gravity, between abstract and figurative.
A shiny metal sculpture crafted by the automobile constructor Renault for Jean-Luc Moulene. "Body" is hardly a new idea, already explored and developed by Californian artists. Tomorrow, indoor FIAC.
photographs by the author
"Another Time II", Anthony Gormley, 2006
"La Somme des Hypotheses", Vincent Mauger, 2011"Poems for Earthlings", Adrian Villar Rojas, 2011"Body", Jean-Luc moulene, 2011
"Rivieres", Vincent Ganivet, 2005
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