Calder / Hiquily: Balancing Act

In the world of modern art, few artists have explored the poetry of balance and movement as profoundly as Alexander Calder and Philippe Hiquily. Though distinct in their approaches, both shared a fascination with form in motion—Calder with his pioneering mobiles, and Hiquily with his playful yet elegant metal sculptures.

'Calder / Hiquily: Balancing Act' at Opera Gallery Dubai brings these two visionary artists into dialogue, revealing unexpected harmonies between their artistic languages. Through a carefully curated selection of works, the exhibition underscores the shared sensibilities that connect them while celebrating their unique artistic trajectories.

A Dynamic Interplay of Forms

At the heart of this exhibition is a dynamic interplay: Calder’s gouaches on paper, with their bold colours and rhythmic compositions, serve as a visual counterpoint to Hiquily’s sculptural explorations of balance, weightlessness, and abstraction. These works—so essential to Calder’s creative process—mirror the same principles that animate his mobiles, two of which are included in this exhibition as sculptural punctuation marks. Their delicate suspension and organic movements contrast yet complement Hiquily’s metal figures, which, despite their solidity, seem to defy gravity with their elongated limbs and dynamic stances.

Blurring the Boundaries Between Sculpture and Movement

Hiquily, like Calder, blurred the boundaries between sculpture and movement, bringing an almost anthropomorphic quality to his forms. His kinetic approach—though rooted in different materials and techniques—finds an undeniable resonance with Calder’s ability to transform metal into floating, kinetic poetry. Together, their works create a rhythm, an unspoken conversation between solidity and air, between weight and levity.

Calder's Legendary Mobiles

'Calder / Hiquily: Balancing Act' features two of Calder’s legendary mobiles, including New Old Universe (1953), an elegant example of his "constellations”, and Caged Stone on Yellow Stalk (1966), a rare standing mobile that pays homage to Calder’s transition from figurative art into pure abstraction. These works are placed in conversation with four of Hiquily’s Girouette mobiles, each representing a different season, revealing his simultaneous appreciation of movement, figuration, and sensuality.

Hiquily's Later Works and Themes

The exhibition further delves into Hiquily’s later work, including weathered iron mobiles created after his move to Tahiti in 2006. These intricate pieces, such as Cheng San and La Reorneadora, reflect his lifelong attraction to indigenous and ancient art while also exploring themes of eroticism and abstraction. His fascination with the female form is evident throughout the exhibition, from large-scale sculptures like Grande Mimi Patte en l’air (1987) to functional art objects such as Console (2009) and Miroir aux nénettes (2003), where he transforms everyday items into sculptural statements.

Calder's gouache and ink works on paper: A Window into his Creative Vision

Surrounding Hiquily’s works, a selection of Calder’s gouache and ink pieces on paper offers insight into the fluidity of his artistic practice. While primarily known as a sculptor, Calder’s two-dimensional works showcase his distinctive visual language, revealing a rich interplay between abstraction and figuration. Pieces like Red Octopus (1971) and Fleurs (1970) highlight his playful approach to form, while works such as Brothers, Right (1965) suggest a deeper, almost philosophical reflection on artistic lineage and influence.

Ultimately, 'Calder / Hiquily: Balancing Act' presents a compelling juxtaposition of two artists who, despite working in different eras and with different philosophies, shared a common pursuit: to create art that moves—both physically and emotionally. The exhibition invites viewers to step into a world where movement, balance, and artistic vision converge, offering an unforgettable exploration of two masters who redefined modern sculpture.