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Lot Essay
'Vers la fin des années 1960, probablement aux alentours de 1967, je fis la connaissance de Roman Cielewicz. [...] Un soir, il m'arriva de me retrouver dans la maison de Malakoff qu'il partageait avec Alina Szapocznikow, sa compagne. [...] Sur quelques meubles, des représentations d'éléments corporels traités en volume imposaient l'image d'un corps en soustraction. Le marbre y était le plus souvent convoqué, mais également une matière plastique translucide aisément assimilable à la suavité de la peau. Ces sculptures abordaient la célébration du corps avec une sensualité qui laissait cependant apparaître une vulnérabilité inquiète. L'auteur de ces pièces était Alina Szapoczinow.'
'Towards the end of the 1960s, probably around 1967, I made the acquaintance of Roman Cielewicz. [...] One evening, I happened to find myself in the house in Malakoff that he shared with Alina Szapocznikow, his partner. [...] On some of the furniture, three-dimensional representations of bodily elements strikingly presented the image of a body wasting away. Marble was most often used, but also a translucent plastic material that was easily likened to the smoothness of skin. These sculptures broached the celebration of the body with a sensuality that nonetheless allowed a disturbing vulnerability to show through. The author of these pieces was Alina Szapocznikow.'
(Anne Tronche, "Corps en lapsus", Alina Szapocznikow, Du dessin à la sculpture, catalogue d'exposition, Paris, Centre national d'art et de culture Georges Pompidou, février-mai 2013, p. 25)
'Towards the end of the 1960s, probably around 1967, I made the acquaintance of Roman Cielewicz. [...] One evening, I happened to find myself in the house in Malakoff that he shared with Alina Szapocznikow, his partner. [...] On some of the furniture, three-dimensional representations of bodily elements strikingly presented the image of a body wasting away. Marble was most often used, but also a translucent plastic material that was easily likened to the smoothness of skin. These sculptures broached the celebration of the body with a sensuality that nonetheless allowed a disturbing vulnerability to show through. The author of these pieces was Alina Szapocznikow.'
(Anne Tronche, "Corps en lapsus", Alina Szapocznikow, Du dessin à la sculpture, catalogue d'exposition, Paris, Centre national d'art et de culture Georges Pompidou, février-mai 2013, p. 25)