Edward Allington, Bibliography,CITY OF THE EYE,at the theatre le Rex Paris Page 1

CITY OF THE EYE

At the Rex cinema on Boulevard Poissonnière in Paris, it is not only what is on the screen that is spellbinding but also the spectacular decor of ancient statues and Moorish pergolas under the dizzying heights of a vaulted ceiling covered with stars.

The theatre, which seats nearly 3,000, is one of the few remaining examples of the Hollywood — inspired architecture of the 20's and 30's, and has been classified a national monument - a designation it wholly deserves in that it is a landmark of the national heritage worthy of preservation.

Two years ago, when it became clear that the stage curtain needed to be replaced, the Rex naturally turned to the Ministry of Culture to help find a solution in keeping with the cinema's neo-Baroque atmosphere which has hardly changed since its construction. Right away it was agreed that this project called for the cooperation of an artist.

Instead of opting for a play on contrasts, which seemed particularly out of place in this context, it was decided to choose someone whose work was close in spirit to the Rex. Edward Allington immediately came to mind. His work is characterized by a taste for the Baroque, for kitsch, for mixing genres, and for a pastiche of antiquities, all of which are elements that can be found in the work of Rex architect Bluysen and interior designer Dufrene.

Moreover, the artist's interest in playing on perspectives could find expression in the very nature of a cinema stage curtain — an opaque screen that opens onto a world of illusion. Although Allington was actually aware of the importance of the commission and the risks involved, he accepted the offer with enthusiasm.

Now that we have seen the outcome we can modestly

say that it meets up to our high expectations. It is the living proof of how fruitful the cooperation can be between the public and private domains, and constitutes another milestone in the lovely tradition of stage curtains as a visual genre which runs from Léger and Picasso to the more recent creations by such artists as Debre and Garouste.

This publication provides the reader with a look into some aspects of the Rex's history and of Allington's oeuvre through photos, an interview, and texts analyzing the work. It is the fourth installment in a series devoted to works commissioned by the state.

Tony Godfrey, An undedicated temple standing on un-consecrated ground - An essay against time (extrait) in Artefactum, juin-août 1987

Allington's recent large sculpture Building with missing columns/To be seen from the inside looks remarkably like a Greek temple, albeit lacking the columns and ornament that would normally be found in such a temple. It may remind us of other things: Noah's Ark , a doll's house, a tomb, a kennel for an enormous dog even. All of these things, we should note, are in some way refuges. Noticing the spy holes at either end we may be reminded of those perspectival peep-boxes that seventeenth century Dutch artists so delighted in. In its isolation and formal severity, however it must, ultimately, be a Greek temple. Other than in its lack of columns and ornament it differs in two importants respects: firstly whereas the Grecian temple would be of white marble— or once, long ago, brilliant and varied colours - this is of a dark blue tone; secondly this temple has neither a particular dedication to a God, nor an allegiance to a particular place. Like a church a temple was always dedicated to a certain God and located on a certain site: as with the famous temples to Diana at Ephesus , Pallas Athena at Athens , Venus at Corinth . They were buildings with special purpose upon a special place. Their meaning attended upon such speci-ficiries. The meaning of the Parthenon has been ignored and deflected in the tourists souvenir replica. Pallas Athena is but a piece of quaint and exotic mumbo-jumbo to the average holidaymaker. On the other hand, it is also the lack of dedication and site that leads to the particular meanings or significances of Allington's sculpture. Without dedication, without a resident deity what rite, what mystery can be practised? The very opaque or impenetrable quality of the building's exterior becomes a challenge and we begin to deduce our own mystery (with its over-tones of both rite and knowledge) from what can be seen through the two apertures.

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CITY OF THE EYE At the Rex cinema on Boulevard Poissonnière in Paris, it is not only what is on the screen that is spellbinding but also the spectacular decor of ancient statues and Moorish pergolas under the dizzying heights of a vaulted ceiling covered with stars. The theatre, which seats nearly 3,000, is one of the few remaining examples of the Hollywood — inspired architecture of the 20's and 30's, and has been classified a national monument - a designation it wholly deserves in that it is a landmark of the national heritage worthy of preservation. Two years ago, when it became clear that the stage curtain needed to be replaced, the Rex naturally turned to the Ministry of Culture to help find a solution in keeping with the cinema's neo-Baroque atmosphere which has hardly changed since its construction. Right away it was agreed that this project called for the cooperation of an artist. Instead of opting for a play on contrasts, which seemed particularly out of place in this context, it was decided to choose someone whose work was close in spirit to the Rex. Edward Allington immediately came to mind. His work is characterized by a taste for the Baroque, for kitsch, for mixing genres, and for a pastiche of antiquities, all of which are elements that can be found in the work of Rex architect Bluysen and interior designer Dufrene. Moreover, the artist's interest in playing on perspectives could find expression in the very nature of a cinema stage curtain — an opaque screen that opens onto a world of illusion. Although Allington was actually aware of the importance of the commission and the risks involved, he accepted the offer with enthusiasm. Now that we have seen the outcome we can modestly say that it meets up to our high expectations. It is the living proof of how fruitful the cooperation can be between the public and private domains, and constitutes another milestone in the lovely tradition of stage curtains as a visual genre which runs from Léger and Picasso to the more recent creations by such artists as Debre and Garouste. This publication provides the reader with a look into some aspects of the Rex's history and of Allington's oeuvre through photos, an interview, and texts analyzing the work. It is the fourth installment in a series devoted to works commissioned by the state. *Tony Godfrey, An undedicated temple standing on un-consecrated ground - An essay against time* (extrait) in Artefactum, juin-août 1987 Allington's recent large sculpture Building with missing columns/To be seen from the inside looks remarkably like a Greek temple, albeit lacking the columns and ornament that would normally be found in such a temple. It may remind us of other things: Noah's Ark , a doll's house, a tomb, a kennel for an enormous dog even. All of these things, we should note, are in some way refuges. Noticing the spy holes at either end we may be reminded of those perspectival peep-boxes that seventeenth century Dutch artists so delighted in. In its isolation and formal severity, however it must, ultimately, be a Greek temple. Other than in its lack of columns and ornament it differs in two importants respects: firstly whereas the Grecian temple would be of white marble— or once, long ago, brilliant and varied colours - this is of a dark blue tone; secondly this temple has neither a particular dedication to a God, nor an allegiance to a particular place. Like a church a temple was always dedicated to a certain God and located on a certain site: as with the famous temples to Diana at Ephesus , Pallas Athena at Athens , Venus at Corinth . They were buildings with special purpose upon a special place. Their meaning attended upon such speci-ficiries. The meaning of the Parthenon has been ignored** and deflected in the tourists souvenir replica. Pallas Athena is but a piece of quaint and exotic mumbo-jumbo to the average holidaymaker. On the other hand, it is also the lack of dedication and site that leads to the particular meanings or significances of Allington's sculpture. Without dedication, without a resident deity what rite, what mystery can be practised? The very opaque or impenetrable quality of the building's exterior becomes a challenge and we begin to deduce our own mystery (with its over-tones of both rite and knowledge) from what can be seen through the two apertures.