Paris Summer Art Stroll (4): R. Serra - "Clara Clara"

Viewing the sculpture "Clara Clara" from the platform offers a magnificent panoramic view. Since American artist Richard Serra’s “Walking” exhibition at the Grand Palais in May, his other early (1983) extraordinary sculpture, “Clara Clara,” has been reinstalled in the Tuileries Garden in front of Place de la Concorde. After recently visiting the “European Narrative Realism” exhibition at the Grand Palais, I specifically strolled down the Champs-Élysées to visit this long-lost work in the lush Tuileries Garden. This monumental sculpture was specially installed by the artist in this historical site during his solo exhibition at the Centre Pompidou in 1983, creating a sense of dialogue between the past and present.

“Clara Clara” was appropriately placed at the entrance; one could not enter or exit without passing through it, strongly attracting people’s gaze and physical movement. Shortly after the exhibition ended, due to demands from Parisians, it was forcibly relocated because this cold, extreme sculpture seemed to obstruct the magnificent panoramic view of the Tuileries and hindered access to the Louvre and Place de la Concorde (people had to detour or pass through the sculpture). This is often the dilemma of Richard Serra’s public sculptures; a work in a New York plaza suffered a similar fate. “Clara Clara” disappeared, and the Ministry of Culture hoped various green spaces or parks in Paris would adopt it. After waiting bitterly with no takers, the Minister of Culture, who was also the mayor of Paris’s 13th arrondissement at the time, forced its installation in Choisy Park, not far from the Chinatown of the 13th arrondissement. Placed on the central lawn of this enclosed park like a wall, what began as curiosity turned into an unbearable sense of violation and disgust (I live nearby). In this park, the work lost its flexible environmental space, suffocating in a setting without long views, failing to highlight the work and instead becoming a visual and physical obstacle. It invaded the park and the public, and only after years of petitions did locals thankfully remove this superfluous hindrance. One can imagine that if public sculpture becomes a visual obstruction, people endure more than just visual or spiritual discomfort. Thus, many contemporary public artworks, if misplaced, will suffocate; suffocated works will interfere with the environment and urban landscape.

Richard Serra’s extraordinary public environmental sculpture, “Clara Clara,” has now been re-established in its original location (in 1983, when I first arrived in Paris, I did not see this work at this location). Fortunately, it feels like time has reversed, presenting itself anew before me with a strong sense of presence (it does not feel like it is near my home in Choisy Park). This spectacle comes not only from the work but also from the resonance of the place and space. This time, I carefully examined the work. At this precise and absolute location (the accuracy of the work and the site), the work came alive again (or found its natural element). First, there is the remarkable resonance of the environmental space position (framed by the streamlined staircases on both sides), which enhances the volume and elegant lines of the work, making the space appear more dynamic and fluid. Looking through the gaps in the sculpture toward the majestic Egyptian obelisk, the line of sight continues to extend to the Arc de Triomphe, while looking back reveals the antique grandeur of the Louvre; the line of sight is smooth and free. “Clara Clara” itself is a massive object that requires the viewer’s body to move around it to be appreciated; passing through or circling it are inevitable perceptions. The work is open, offering different perceptions and experiences from all directions. This is the effect of minimal art: presenting the most with the least. Here, the work is successful, allowing one to appreciate the artist’s wisdom and awaken the spirit of the space and location. Of course, this is viewed from a professional perspective. How long can this work remain in this space? From the realistic viewpoint of the general public, it is another matter. Good works need good audiences to be recognized and affirmed, allowing me to witness what public art truly is.