Blog post by Lindsay Clark

 

The first thing I noticed upon entering Leblon’s exhibition was the shift in the flooring. I went from a hard floor to a soft carpet. While I didn’t understand why at first, or even if it was intentional, upon learning about the Chrysocale Double Bed and its underlying meaning, it became clear.

Leblon exploits material and objects and their ability to be manipulated to represent time and the physical effects that human beings have on the material. His exhibited bed is wrapped in a beautiful, shimmering golden color compilation of copper, zinc and tin (chrysocale). It’s woven together, creating a beautiful pattern and texture surrounding the bed, revealing indentations underneath that suggest a person recently occupied that space. The way the bed is wrapped like a gift indicates a preservation of that occupant’s life. It is a celebratory piece, but I can’t help to find sadness and loss here.

This installation is reminiscent of Felix Gonzalez-Torres’ “Untitled” 1991 billboard, which displays an empty, tousled bed in remembrance of the artist’s boyfriend, who died of an AIDS related illness. The wrinkled sheets and indentations on the pillows are indications that someone once laid in that bed, but he is no longer here. Gonzalez-Torres’ haunting image resonates with me and inspires sympathy. Consequently, when I saw Leblon’s double bed installation, grief and emptiness overcame any celebratory feeling that I was supposed to get.

The carpeted floor was intentional, as it reflects Leblon’s concept of the existence of humans and the effects they have on time and material. The tan color of the carpet was also intentional; to pick up and easily show the dirt from the exhibition visitors’ feet. The flooring became part of the atmospheric embodiment of Leblon’s concept. What I loved so much about this exhibition were the details and decisions made to embody total design. Something so minute as a floor, usually not part of an art exhibition, became an important piece of the installation and artist’s message. Leblon’s piece, no matter the interpretation, certainly makes one think.

Voorhies, James. “Under My Shoe” http://bureauforopenculture.org/2013/06/under-my-shoe-guillaume-leblon-at-mass-moca/.

You can find more information on Gonzalez-Torres and see the image discussed below:
http://www.thegreatwithin.org/2009/11/absent-body-felix-gonzalez-torres-aids.html

Chrysocale Double Bed (2013) by Guillaume Leblon at MASS MoCA