Sedef Aydogan’s Blog


raphael zarka


riding zaviallof

a collector of forms, skateboarder / artist raphaël zarka captures the sculptural possibilities of
structures such as a concrete breakwater, unfinished monorail or the unrealized constructions
which litter the urban landscape. influenced by minimalism and land art, zarka’s work is based
on an almost scientific research of spaces and forms, guided by the need to order objects,
he says, ‘to organize the chaos of the things that interest me.‘ his experimental approach to volume,
geometry and materials resulting largely from the artist’s experience of skateboarding, has enabled
him to become familiar with the surface dynamics of urban space.

one particular series of photographs, ‘riding modern art’, is a composition of eleven photographs
of skaters whose images are captured riding works of public art. his photographs emphasize the
hidden dynamism in many of the public sculptures we encounter:
what strikes me, is that skaters prioritize a relationship with the work rather than a mechanical
relationship aesthetic. for them, all the interest of a sculpture is the variety of movements that
it recommends.
‘ -RZ

zarka has an upcoming exhibition at the french cultural center in milan, entitled ‘rhombus sectus’.
the show will focus on a selection of works produced over the last four years, witnessing the artist’s
linguistic eclecticism which moves between high art historical references and those of popular culture.

rhombus sectus
french cultural centre, milan
january 21st, 2010 to march 30th, 2010


l: riding trichet
r: riding langlois (both images)


riding modern art


l: riding georges
r: riding charlot, top and riding marley, bottom


riding modern art


forme du repos


forme du repos

raphaël zarka studied at the winchester school of art and the école nationale supérieure
de beaux-arts in paris. he has exhibited in numerous private and public spaces including,
the museum of modern art, oxford, contemporary art center, chelles and laura bartlett gallery,
london.

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