JAUME PLENSA > MICHAEL KOS - WHAT IS A SCULPTURE > THE ARCHITECTURE OF OUR BODIES
He has been a teacher at the École nationale supérieure des Beaux-Arts in Paris and regularly cooperates with the School of the Art Institute of Chicago as a guest professor. He has also given many lectures and courses at other universities, museums and cultural institutions around the world.
Jaume Plensa has received numerous national and international distinctions, including the Medaille de Chevalier des Arts et des Lettres, awarded by the French Ministry of Culture, in 1993, and the Government of Catalonia’s National Prize for Fine Art in 1997. In 2005, he was invested Doctor Honoris Causa by the School of the Art Institute of Chicago. In Spain, he received the National Prize for Fine Art in 2012 and the prestigious Velázquez Prize for the Arts in 2013.
Plensa regularly shows his work at galleries and museums in Europe, the United States and Asia. The landmark exhibitions in his career include one organised at the Fundació Joan Miró in Barcelona in 1996, which travelled to the Galerie
nationale du Jeu de Paume in Paris and the Malmö Konsthall in Malmö (Sweden) the following year. In Germany, several museums have staged exhibitions of his work. These include Love Sounds at the Kestner Gesellschaft in Hannover in 1999 and the recent The Secret Heart, which was shown at three museums in the city of Augsburg in 2014.
The objects with which Michael Kos confronts us are extraordinary. Can these oddly sewn, apparently wounded stones really be called sculpture? Or is the artist playing with the overall notion in
order to bring out a new, rarely illuminated aspect? To answer that, a more fundamental question must be put forward: what exactly is a sculpture?
In postmodern art, whenever the topic turns to sculpture, what exactly is meant by the term is often not clear. The term traditionally is used to denote a three-dimensional work representing a body; its specific characteristics are a three-dimensional form, a positioning within a space, and the ability to be perceived haptically.
However, during the 20th century, artists broke out of the traditional concept of sculpture and greatly expanded it. Whereas for centuries, sculpture served as a likeness of the human body, it
turned away from the principle of figure representation at the start of the 20th century. The process of abstraction, a fragmentation of the world of objects, began in abstract painting and
sculpture on one hand, and on the other, art made an unprecedented entry into this world of objects and an objectification of sculpture (key word: readymade) [....]