<p><span style=""></span></p><p><span style=""></span></p><p>With retrospectives at the Serpentine and the Pulitzer Art Foundation, the Paris-based American artist is having a moment</p>

As told to Lillian Davies

How I became an artist: Barbara Chase-Riboud

<p>‘I think the dual exhibits stretching across the Atlantic say a lot about my life as an artist, as I described it in letters from Europe to my mother in Philadelphia. She saved every letter I ever wrote, some 600, that covered 1957 to 1991. I found them only after her death. And although I published them almost 15 years later, it still felt as if I had written them the day before. Those letters really are a new genre of writing – neither memoir, diary, travelogue, nor confession. They are living notations of the moment. They could be artist’s notes; or sketches in writing, or automatic writing with all kinds of unconscious and subversive meanings. Yet I was not being subversive; I was just writing to my mom – but I can date my sculptures and poems by these letters. </p><p>‘For many years, I kept my writing and sculpture separate. I was fond of saying: “I write what I can’t sculpt and sculpt what I can’t write.” I don’t know if that isn’t still true. I read anything and everything when I was a child, under the cover, with a flashlight. I loved the Russian writers, the long, historical English novels. Now that I don’t need a flashlight, I have Richard Powell, Anna Akhmatova, and Alexander Pushkin at my bedside, but I don’t read in bed. I can look at a catalog in bed but I prefer reading literature sitting down at a desk.</p>

<p>Would he like to expand his business in Paris? It is already the case, he says, by way of off-site exhibitions, such as the Carla Accardi show organized at Le Corbusier’s jewel of a building, Maison La Roche, for the first edition of Paris + par Art Basel. He plans to pursue other exceptional projects like this ‘fine example of how art dialogues with architecture.’ This is without doubt one of his mantras – the white cube is not really for him. ‘Architecture is one of the key elements of our activity.’ </p><p>In each city where he has installed a gallery, De Carlo has selected sites charged with soul. Since 2019, his gallery in Milan has been located in the Casa Corbellini-Wassermann, an icon of 1930s architecture, replete with marble and woodwork. ‘We’ve had it with the cliché of the minimalist space, where the art is supposed to be the sole actor,’ he affirms. In London, he has just restored a Mayfair apartment whose walls he painted a luminous sea-green – the original color dating back to 1723, unearthed in poor condition. ‘Maybe it’s too green? In any case, we’re happy we did it! Our artists adore this kind of context, and that’s all that matters.’</p><hr /><p>Emmanuelle Lequeux is a journalist based in Paris.</p><p><a href="https://www.artbasel.com/catalog/gallery/1104/Massimo-De-Carlo">Massimo De Carlo</a> will be part of the&nbsp;Galleries and Kabinett sectors in the upcoming edition of Art Basel Miami&nbsp;Beach,&nbsp;from December 1 – 3, 2022.</p><p>Caption for full-bleed images:&nbsp;Massimo De Carlo by Bettina Pittaluga for Paris+ par Art Basel, 2022.</p><p>English translation: Jacob Bromberg</p>

<p>‘Artists are aliens anyway, aren’t they? Being foreign means that your eye, ear, and hand are more attuned to nuance and invention – it means that you are more adventurous, more independent, braver maybe, or should I say, foolhardy? I think that is what Man Ray meant when he said, “<em>j’aime être étranger”</em> – it’s about being an outsider observing, not one of the crowd.</p><p>‘Who was it who said, “A great female artist is one whose ovaries no longer function”? If it wasn’t Louise Nevelson, then it was me! The ovary problem, the guilt of putting creativity, in the great sense of the word, before maternity... The love of your work is equal to the love of your creatures. The mental load of motherhood should be integrated into the psychic landscape of an artist, except that the very idea of motherhood requires selflessness. It is the antithesis of self-serving art. Live with it, is all I can say. All the rhetoric in the world will not solve the challenge of being an artist and mother. I certainly don’t have the solution. </p>

<p>‘Life is the best art and “art is the only proof that anything has happened in the past,” Claude Lévi-Strauss stated. This is one of the most provocative – and one of the truest – comments on the role of art I’ve ever read or heard. Everything else is hearsay.’</p><p>Barbara Chase-Riboud’s&nbsp;book <em style="background-color: initial;">I Always Knew: A Memoir</em> was published by Princeton University Press in October 2022.</p><p><strong></strong></p><p><strong></strong></p><p>‘Barbara Chase-Riboud: Infinite Folds’<br />Serpentine, London<br />Until&nbsp;January 29, 2023</p><p>‘Barbara Chase-Riboud: Monumentale – The Bronzes’<br />Pulitzer Art Foundation, St. Louis<br />Until&nbsp;February 5, 2023</p><p>Lillian Davies is a writer based in Paris.&nbsp;</p><p>Caption for full-bleed images:&nbsp;Installation views of Barbara Chase-Riboud’s exhibition ‘Infinite Folds’ at Serpentine North, London, 2022. Photographs by Jo Underhill. Courtesy of the artist and Serpentine.</p>

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Stories

Adel Abdessemed: ‘The space given to me is my breath’

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With retrospectives at the Serpentine and the Pulitzer Art Foundation, the Paris-based American artist is having a moment

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