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Lot Essay
Claude Lalanne remarquait que «François-Xavier a tellement peur d'être pris pour un artiste qu'il s'est efforcé de faire des objets utilitaires.» (dans Les Lalanne, catalogue d'exposition, Paris, Centre national d'art contemporain Georges Pompidou, 1975, p. 37). Il en résulte une certaine forme de désacralisation des sculptures de l’artiste qui n’ôte cependant rien à la poésie et à l'élégance qui se dégagent des lignes simples de ces Teeny Bell dessinés en hommage à la femme de Marcel Duchamp, Alexina "Teeny" Duchamp. Chacun pourvu d’un petit grelot, ils introduisent une rupture avec la sculpture traditionnelle, en s’adressant au regard, au toucher mais aussi aux oreilles du passant qui voudra bien les manipuler. En réalisant avec irrévérence cette union entre sculpture et objet utilitaire, Lalanne retrouve une forme d'universalité qui tend à atteindre la sensibilité de chacun.
Claude Lalanne noticed that "François-Xavier is so afraid of being taken for an artist that he tried to make utilitarian objects." (in Les Lalanne, exhibition catalogue, Paris, Centre national d'art contemporain Georges Pompidou, 1975, p. 37). The result is a certain form of desacralization of the artist's sculptures which, however, takes nothing away from the poetry and elegance that emerge from the simple lines of these Teeny Bells designed in homage to Marcel Duchamp's wife, Alexina " Teeny "Duchamp. Each equipped with a small bell, they introduce a break with traditional sculpture, by addressing the gaze, the touch but also the ears of the passer-by who will dare to handle them. By irreverently achieving this union between sculpture and utilitarian object, Lalanne rediscovers a form of universality which tends to reach the sensitivity of each.
Claude Lalanne noticed that "François-Xavier is so afraid of being taken for an artist that he tried to make utilitarian objects." (in Les Lalanne, exhibition catalogue, Paris, Centre national d'art contemporain Georges Pompidou, 1975, p. 37). The result is a certain form of desacralization of the artist's sculptures which, however, takes nothing away from the poetry and elegance that emerge from the simple lines of these Teeny Bells designed in homage to Marcel Duchamp's wife, Alexina " Teeny "Duchamp. Each equipped with a small bell, they introduce a break with traditional sculpture, by addressing the gaze, the touch but also the ears of the passer-by who will dare to handle them. By irreverently achieving this union between sculpture and utilitarian object, Lalanne rediscovers a form of universality which tends to reach the sensitivity of each.