Long’s Line in Bordeaux: CAPC Recreates Iconic Land Art Installation

BREAKING NEWS: Iconic Richard Long Sculpture Reimagined at CAPC Bordeaux

Bordeaux, france – The CAPC museum in Bordeaux is once again showcasing a monumental work by renowned conceptual artist Richard Long, but not through conventional restoration. Faced with the challenge of preserving 18 tonnes of rubble,museum conservators have opted for a complete reimagining of the piece,a decision met with the artist’s full approval.

Anne Cadenet, head of the CAPC Museum collections department, explained the complex process: “How do you restore a sculpture made of 18 tonnes of rubble? Cleaning solutions with biocides were not an option, and laser cleaning yielded unsatisfactory results. The only viable solution was to source limestone geologically identical to the original material used in 1990.”

The search for the precise stone led Cadenet and Lilian Saly,head of patronage and partnerships,to the Garandeau quarry near Angoulême. there, they discovered Turonian limestone, dating back approximately 93 to 89 million years, a perfect match to the original material. The selected rubble was then meticulously chosen to mirror the particle size and dimensions of the 1990 and 2014 iterations.

Richard Long, known for his site-specific land art, was reportedly delighted with the news. “He was delighted to see this work living on the terraces again, in accordance with its original intention,” Cadenet shared. She further elaborated that the artist had provided a protocol outlining his creative process and aesthetic intentions. In 2014,Long himself visited the museum to verify the conformity of a previous reimagining.

The practice of entirely or partially replacing artworks is a relatively new consideration for museums. However, Cadenet highlighted that with conceptual pieces like this, and with the artist’s explicit consent, museums are permitted to recreate the work based on agreed-upon parameters. A research program titled “Replace OR Rémake?” was even initiated in 2014, involving consultations with the School of Fine Arts in Tours to explore these evolving conservation strategies.

Given the sculpture’s outdoor placement and its proximity to the public garden, it is indeed likely that this extensive refurbishment will need to be repeated approximately every ten years to maintain its appearance, as it remains susceptible to atmospheric pollution. “Unless there is another solution by then, because in terms of restoration, research moves very quickly,” Cadenet added, acknowledging the rapid advancements in conservation technology.

The CAPC museum will be hosting a special evening on Thursday, July 31st, at 6 p.m., offering free admission with performances by Compagnie des Limboes and a visit to the exhibition “L’invention du Quotidien.” The museum’s café,”Le Café de l’Orangerie,” will also be open.

How does *The Long Now* exemplify the core principles of land art and earthworks as pioneered by artists like robert Smithson and Michael Heizer?

The Return of a Landmark: Walter De Maria’s The Long Now

Walter De Maria’s The Long Now, a monumental earthwork originally conceived in 1996, has been meticulously recreated at the CAPC musée d’Art Contemporain in Bordeaux, France. This notable installation, a cornerstone of land art and earthworks, offers a powerful meditation on time, space, and the enduring nature of art. The project, realized posthumously, represents a unique collaboration between the CAPC and the Walter De Maria Foundation.This recreation isn’t simply a replica; it’s a re-activation of a vision,bringing a previously inaccessible artwork to a wider audience.

Understanding The Long Now: Conceptual Framework & Design

The Long Now consists of 500 brass rods,each precisely 12 feet long,arranged in a grid pattern spanning over 100 feet. These rods are embedded in a concrete base, creating a subtle, yet imposing, landscape.

Here’s a breakdown of the key conceptual elements:

Time & Duration: The artwork’s title directly references the “Long Now Foundation,” a project dedicated to fostering long-term thinking. De Maria intended the work to exist for millennia, prompting reflection on geological timescales.

minimalism & Geometry: The simplicity of the materials – brass and concrete – and the strict geometric arrangement embody minimalist principles.This deliberate reduction focuses attention on the basic elements of form and space.

Spatial Experience: Walking amongst the rods creates a disorienting and contemplative experience. The repetitive pattern and the sheer scale of the installation challenge perceptions of depth and perspective.

Materiality & Permanence: The choice of brass,a durable and relatively inert metal,reinforces the artwork’s intended longevity. The concrete base provides a stable foundation, symbolizing permanence.

The Bordeaux context: Why CAPC?

the CAPC Musée d’Art Contemporain in Bordeaux was a crucial partner in realizing this ambitious project.The museum’s history of supporting large-scale installations and its commitment to contemporary art made it an ideal location.

Key factors influencing the choice of CAPC include:

Architectural Space: The CAPC’s building, a former naval warehouse, provides the necessary scale and industrial aesthetic to complement the artwork.

Institutional Support: The museum’s curatorial team and technical staff possessed the expertise to manage the complex logistics of recreating The Long Now.

Public Access: The CAPC’s location in Bordeaux ensures accessibility for a diverse audience, fostering engagement with this critically important work of conceptual art.

Previous Land Art Exhibitions: The CAPC has a history of exhibiting land art, demonstrating a curatorial interest in the genre.

The reconstruction Process: Challenges & Innovations

Reconstructing The Long Now presented significant challenges. De Maria’s original plans were detailed but required careful interpretation and adaptation.

The reconstruction involved:

1. Archival Research: Extensive study of De Maria’s drawings, notes, and photographs was essential to understand his intentions.
2. Material Sourcing: Obtaining the correct type and quality of brass proved difficult, requiring collaboration with specialized suppliers.
3. Precision Engineering: The accurate placement of each rod demanded precise surveying and engineering techniques.
4. Concrete Pouring: The concrete base had to be poured to exacting specifications to ensure stability and durability.
5. Collaboration with the Walter De Maria Foundation: Ongoing consultation with the Foundation was crucial to maintain the integrity of the artwork.

Experiencing The Long Now: Visitor Insights & Interpretations

Visitors to the CAPC have described a range of emotional and intellectual responses to The Long Now. Many report a sense of awe and disorientation, while others find the work deeply meditative.

Common themes emerging from visitor feedback include:

the Passage of Time: The artwork prompts reflection on personal and geological timescales.

Human Scale vs. Monumentality: The contrast between the individual viewer and the vastness of the installation creates a humbling experience.

The Power of Simplicity: The minimalist aesthetic encourages contemplation of fundamental forms and materials.

The Relationship Between Art and Landscape: The artwork blurs the boundaries between indoor and outdoor space, inviting viewers to consider their relationship to the habitat.

Long’s Line and the broader Landscape of Earthworks

The Long Now stands as a significant example within the broader history of earthworks and environmental art. Artists like Robert Smithson (Spiral Jetty), Michael Heizer (Double Negative), and Christo and Jeanne-Claude (various wrapping projects) pioneered this genre, challenging conventional notions of art and its relationship to the natural world.

Key characteristics of land art include:

* Site-Specificity: Works are frequently enough created in remote or