Академический Документы
Профессиональный Документы
Культура Документы
M A D R1
I D 02 0
0 11
4
1003
Curator
D e p a r t m e n t o f O l f a c t o r y A r t N e w Yo r k
Director
Coordinator and editor
Translations
Exhibition and catalogue design
Chandler Burr
Comisario
Departamento de Arte Olfativo
Ana Fernndez Parrilla
Directora
Erik Schoonhoven
Coordina y edita
Marta Rodrguez
Traducciones
Cano Estudio
Diseo de exposicin y catlogo
Copyright 2014
CONTENTS
CONTENIDO
22
PRESENTATION
PRESENTACIN
28
ROMANTICISM
ROMANTICISMO
32
MODERNISM
MODERNISMO
36
SURREALISM
SURREALISMO
40
NEO-ROMANTICISM
NEO-ROMANTICISMO
44
PHOTOREALISM
FOTORREALISMO
48
CONTEMPORARY FIGURATISM
FIGURATIVO CONTEMPORNEO
52
NEOCLASSICISM
NEOCLASICISMO
56
20TH-CENTURY RETRO
RETRO SIGLO XX
PRESENTATION
PRESENTACIN
tor
ura rt
c
n ry a
f
tio
ibi acto xt o
h
x olf
te
e
n
o
e
Th ates e c
itu in th y
s
r
What generated The Art of Scent is a single question. Scent
th
wi histo
t
r
isand from my first intellectual encounter with it, on a plata
CHANDLER BURR
form in the Gare du Nord in 1998 while waiting for the Eurostar
art was laughed at. They were nothing more than small mirrors of
the
21st-century,
the
mid-20th-century
opinion
of
PRESENTATION
PRESENTACIN
mares. Like all art. In other words, photographs are now recog-
medida por los artistas que componen estas imgenes, y que son
seness. Most people ask the question: Can works in scent really
be art? This is where The Art of Scent comes from: The exhibition
the truth that is given us to understand. The artist must know the
lies. [He] has searched, and re-searched for the way to put
nos hace ver la verdad, al menos aquella que nos es dada para
work of art. Nature and art, being two different things, cannot
The first true work of art created in the medium of scent appeared
in 1884 and was by the artist Paul Parquet. It was titled Fougre
por ser cosas diferentes, nunca podrn ser lo mismo. Con el arte
was the first to use synthetic raw materials. Through this artifice,
he created an expression of what nature is not. We begin in The
Art of Scent with Jicky, 1889, the worlds second work of olfac-
has ever seen a natural work of olfactory art, and who cares.
11
PRESENTATION
PRESENTACIN
Chandler Burr
13
ROMANTICISM
ROMANTICISMO
Jicky
1889
y
ick
f J ver e.
o
e
n
tur
ius
en ould n na ted
g
a
e
rt
tc
di
Th hat i iste d cre of a
x
t
k
a
e
r
is
h
o
e
m
Aim Guerlain was one of the most important olfactory artists hav rlain ew w rt for
e
n
a
u
of the 19th century, for the simple reason that he, along with G oth a new
b da
the perfumer Paul Parquet, effectively invented olfactory art.
an
Guerlain was born into an era of rapidly advancing technology
1884 Paul Parquet was the first to use a synthetic raw material in
from the limitations of nature in the same way that new metals
tower, which was completed in 1889, the same year that Guerlain
launched Jicky.
public, I will make you feel this. I will make you perceive that.
15
ROMANTICISM
ROMANTICISMO
reverie, unease, joy, or pity. The more ingenious their false repre-
esto otro. Los artistas crean obras para generar miedo o rabia,
sentations, the more intensely they are felt. Jicky embodies the
Guerlain had created both a new work of art and a new art
la verdad.
form. Edgar Degas, who was born the same year as Guerlain,
once remarked to a landscape painter: A vous, il vous faut la
vie naturelle, moi la vie factice (You need the natural life, I the
17
MODERNISM
MODERNISMO
Chanel N5
1921
n
sa
5i
l N rily h
a
ne
ha ordin roug d
C
h an
t
a
f
tr
the
ex ugh f art of t rks o
e
o
o
o y
When the olfactory artist Ernest Beaux received a commission from th
n
w
e
o te
an
iec ns
his patron Gabrielle Chanel, Modernism was a nascent movement. p mai mma rt in
a
e
u
r ns
ist
co dern
o
M dium
The worlds changesand dislocationscreated it. Given the
me
spread of wealth from the Industrial Revolution, democracys rise
tion of the Old Worlds order, Modernists felt that traditional art
forms had been made obsolete. The modern man and woman
from the inside, not with its outer walls. He then seemed to make
glass, wrapping the building in this glass skin. It was a radical way
19
MODERNISM
MODERNISMO
Chanel N5 es una obra de arte de un diseo extraordinariamente minucioso que sigue siendo uno de los mejores ejemplos del
arte modernista.
21
SURREALISM
SURREALISMO
Angel
1992
as
se
the nts w ing
f
o
e
tl
ult lem star
es
e nd
r
e
ly
e
t
e
a
Th para ical hos it tru ot
n
w
s
e
g
di llo art
as
ad
The American writer Thomas Pynchon, who absorbed the an i of s m . It w le. w
ork tic ary sty ne
Surrealist principles laid out by the French poet Andr Breton in w esthe rdin was ing
a rao , it
eth
t
h
1924, famously wrote in 1984 that Surrealism combined inside
ex ngt som n
s
e
str s wa e su
the same frame elements not normally found together to
h
i
Th er t
d
produce illogical and startling effects. After a decade of funcun
tionalist ascendancy and the dominance of Wargnyes Drakkar
OLIVIER CRESP
THIERRY MUGLER, CLARINS
i
c
ta
ina ntos uto
b
de lgica. Tras una dcada de predominio del Funcionalismo
r
f
e
m
co lem mo ente
a
o
e
y la obra Drakkar Noir (1982) de Wargnye, Olivier Cresp ilustr el
L
d
tos o c en
ica
es s di orpr lg ue
principio expresado por Pynchon con la creacin en 1992 de
re a s
de a q te
r
pa
c
te
dis a ob ren stti lmen su Angel, su obra olfativa surrealista ms influyente y la anttesis de
un y ca na e rea por
o. la creacin de Wargnye en muchos sentidos.
ce No
stil
nu
co la ha ria. su e asta
ina por to h es
is
ord sino
nc Cresp dise una estructura en forma de trpode, combinando
a
r
a v nto
t
e
ex rza, unc
fue lo n
en un mismo marco tres materiales que no se suelen enconEra
trar juntos: la cumarina, una molcula similar al mazapn que
gives cotton candy its sweet smell. The result of these disparate
cin de estos elementos tan dispares dio como fruto una obra
Noir (1982), olfactory artist Olivier Cresp illustrated Pynchons definition with Angel, his seminal 1992 work of olfactory Surrealism,
which was the antithesis, in multiple ways, of Wargnyes creation.
Cresp designed a tripod structure, combining in a single
framework three materials not normally found together: the
marzipan-like molecule coumarin (one of the three synthetics
23
SURREALISM
SURREALISMO
and placed shocking artificiality in full view. This was the proge-
que hizo Cresp del etil maltol como materia estructural en lugar
25
NEO-ROMANTICISM
NEO-ROMANTICISMO
Prada Amber
2004
rry
va
a
in
,G
m rry,
t
na ava ribe rnis
e
B d G bsc ode igh
h
an t, su to M ing
f
c
k
y
l
nd s o
a
a
Prada Amber, commissioned by Miuccia Prada, exemplifies f tire
, t m a sson rly
y
t
n
i
s
a
r
i
e
e
ea ntic the l nd e
several of the thornier problems that face artists. How does one
lin
ma ing th a
o
R ply
innovate creatively while retaining the beauties and aesthetics
20
ap late tury
n
one wants from the past and in what form? To what degree
e
th t ce
s
1
2
can artists create something intelligent without compromising
e
l
n
a ,d
be de
y
en
pblico? Para crear Prada Amber, los artistas Carlos Benam, Max
B varr scri ea an
n
b
Ga su la l : tom as
Gavarry y Clment Gavarry bucearon en el pasado y eligieron el
to
o
tic l
ple nism ters de
m
r
n
co ode arac lme y les Romanticismo, que podra considerarse el movimiento ideal para
e
M s c l cu
mo s d crear obras olfativas.
la de
cis tesi X y
i
t
n as
X I
l
lo
ma
X
Ro lican l sig el X
e
En Rush, la extraordinaria fragancia de 1999, Michel Almariac
ap es d ios d
l
p
i
a
haca un uso brillante del dogma romntico de dejarse llevar y
fin rinc
p
perder el control al tiempo que tomaba prestados los aspectos
sido un mero pastiche, pero esta obra es como una hoja de ruta
its opulent beauty and also with subtlety, elegance, and intelli-
27
NEO-ROMANTICISM
NEO-ROMANTICISMO
retains all the visceral referential power of the past and refines it
29
PHOTOREALISM
FOTORREALISMO
Eau de Lierre
2006
r
ke
ma rs
h
tc
ee
wa ngin nt
a
e
de
ke in
h
Li legr epen with eart t
l
Pe ind ents rich feren th,
r
y
Photorealism in the visual mediums is limited more or less exclu- tin vem n. A ly dif h ea
o
o
i
c
e
i
m cis let d r uires
sively to painting. Interestingly photography, whose advent in
i
pre omp um req and n
h
n
e
the late 1800s inspired the style, is never spoken of as using it
is c m a ree mm e th
o
fro ivy g te c ls. H on
i
although photographs can employ a super-heightened effect
o
an mple ontr mot er
c
n
o
th
i
that is as far from reality as Photo-Realist painting.
c he m
ho
t
of s the eac
t
se und
Masterworks of Photorealism created in scent like Eau de Lierre
aro
FABRICE PELLEGRIN
DIPTYQUE
a corner in the middle of a city and are met, miles from any
C
o sin tam ierra
e
aromticos, un tabln olfativo de madera sin tratar que resulta
e
t
l
i
e
c
qu
pl
a
pe pre om de l a; y re visceralmente real, ms real que la realidad, a pesar de ser
c
n
d
co il es tinta me quie .
t
dis y h ra re luto s absolutamente artificial.
fr
la
o
d
til
fr hie l abs one to
e ro
p
n
d
,
r
e
t
ve con us vimi
p
s
o
n
e
u
m
D
en
as
z
pie
rally real, more real than real, while being utterly false.
Eau de Lierre is ingenious not merely in its flawless reproduction
of the realit is a portrait of deep-green ivy (lierre means ivy in
French) and humid rich earth, the ivy possibly covered in rain
water, possibly growing next to a small stream, the cool wet
31
PHOTOREALISM
FOTORREALISMO
air around it and the mix of sun and rain clouds abovebut
33
CONTEMPORARY
FIGURATISM
FIGURATIVO
CONTEMPORNEO
Jadore LAbsolu
2007
olu
bs
A
d
L
nte
re
do rese
a
e
J y p Th
y
.
ith
h
tel y
W mac ution edia sa
o
l
De evo imm h is t tely
One senses in Jadore LAbsolu Franois Demachys conscious an rk is whic edia
two ely, imm and r 21s
deliberations about the question of what beauty should mean in
s
v
i
u
e
lo t it abl o o ies
t
t
r
the 21st century and, at the same time, a refusal to intellectualize
tha asu ible ibili
s
ple cess sen
the question.
ac ntury
ce
FRANOIS DEMACHY
CHRISTIAN DIOR
r
e
ren dia ad XXI
mp inme ibilid iglo Christian Dior comision varias representaciones fascinantes
o
c
s
ns
se
de la belleza en la dcada de los 50, entre las que se incluan
Miss Dior resembled The Third of May in its use of massive amounts
35
CONTEMPORARY
FIGURATISM
FIGURATIVO
CONTEMPORNEO
are the people, here are the flowers). Diorama, though coming a
mere few years later, abstracted beauty with, again, imposing and
commanding attention, thick layers of materials across the work.
With Jadore LAbsolu Demachy presented an evolution. The
work is immediately lovely, which is to say that it is immediately
pleasurable and accessible to our 21st-century sensibilities. Its
effect is the opposite of a massive, opaque use of materials,
rather the work has a translucence and clarity that frame an
abstracted scent, the idea of flowers without in any way a literal
interpretation of flowers surrounded by an olfactory concept of
luxury. It is Figuratismthe floralcy is there after allbut with a
h
olu
bs and
A
n
L
e
lope like the glass that surrounds the hot, burning tungsten filare
nc e a e
do luce fram t, th ut
a
37
NEO-CLASSICISM
NEOCLASICISMO
Aqua Universalis
2009
ilt
a
bu
as is as rn
h
l
o
n
a
jia ers n-b he
rkd Univ brai of t rks
u
e
K ua
hly on l wo
Aq roug is is tua
c
Cybele Gontar, in The Metropolitan Museum of Art New Yorks tho g; th telle
n
thi st in
Heilbrunn Timeline of Art History, describes Neo-Classicism this
s
mo ear
y
way: The second half of the eighteenth century in Europe saw
in
FRANCIS KURKDJIAN
MAISON FRANCIS KURKDJIAN
m
2009 nacido de su propia coleccin es uno de los ejem-
transcendent works, he explained, went beyond mere verisimilitude to capture a more beauteous and more perfect nature.
The artist Francis Kurkdjian has created commissions in many
styles, but his 2009 Aqua Universalis, created for his own collection, is one of the purest examples of Neo-Classicism in the
colonia clsica del siglo XVIII que ha tomado la forma del siglo
Making such a specific reference to the classic form is, exactly
39
NEO-CLASSICISM
NEOCLASICISMO
in
ine
ch nal
a
m ter ] a
with a simplicity only possible from an advanced technology.
is a al in [ rials er
e
n
n
r
e
li
He ntio ictio mat ear
e
f
d
n
t
o
a ed
in
tra
The work is in tension. It conveys at once sharp and soft; the con licity d by mat nd ssy
a
p
e
la
t
41
20TH-CENTURY
RETRO
RETRO
SIGLO
XX
Aura
2013
e ed
t
uit
s q esen
a
r
h
p
,
ros sly etro at
u
R
th
ale
t.
V nscio k of ans
r
en
co wo t me tury par
s
Retro styles are statements about specific times in the past from thi d tha -cen is ap r
t
an 21s tive so the
c
e
a specific point in the present. In this case the commentary, by
the rspe rrow o us de le.
t
o
a sty
artist Emilio Valeros, is on scent works that made a huge imprespe ra b s,
m
e
e
p
Au mpl -ho m th 00%
sion in the 80s style, although of the two that come immediately
p
sa m hi fro y it 1
to mind, Nahma, by Jean-Paul Guerlain, was created a year
ter ous t bu
n
fam oes
before the 80s in 1979 and the other a year after, the 1990 Trsor
It d
by Sofia Grojsman. They were big, filled rooms with their gilded
EMILIO VALEROS
LOEWE
presence. They were filled with stuff. Aura captures the style
perfectly, which is the interest of the work.
Different
aesthetic
schools
may
coincide
temporally
Impressionism can dominate both music and painting simultaneouslybut in most cases different mediums arrive at schools
43
20TH-CENTURY
RETRO
RETRO
SIGLO
XX
references, then settles into its own linear form, and its artistry is
of art.
45
Con la colaboracin de
49
51