In the Place du Louvre stands a rather unusual sculpture, facing the pyramid of the famous museum. From a distance, the work might resemble a construction set, composed of cubes, triangles, and other oval shapes. It is actually a Mirror Gate II, a monumental installation by the Argentinian artist Pilar Zeta, in collaboration with Marmonil, an Egyptian house of natural stone founded in 1963, visible until February 15.
It all began three years ago, when Pilar Zeta exhibited the installation for the first time. Mirror Gate I, entirely made of limestone, facing the pyramids of Giza, Egypt. This presentation marked his first collaboration with the Marmonil company, owner of one of the oldest stone quarries in Egypt's heritage. At that time, the exhibition curator Stéphane Ruffier Meray had not yet met the artist. It was only nearly two years later, at the Zona Maco contemporary art fair in Mexico City, that they met through mutual acquaintances. It was in this context that the idea of transposing Mirror Gate Paris.
“This installation is highly significant because it engages in a dialogue not only with institutions that house some of humanity’s most iconic and culturally important works, but also with the Egyptian collection. It is aligned with the pyramid and obelisk of Luxor.”"This historical monument, erected nearly 190 years ago, symbolizes the friendship between France and Egypt," emphasizes Stéphane Ruffier Meray. It is reported that some of the stones, notably the red granite used to construct the obelisk, are identical to those used in the creation of the Pilar Zeta sculpture—materials dating back several millennia.
The shapes and stones were not chosen at random; each carries a true meaning. The artist's aim was to create a work that resonated with the treasures of Egyptian sculpture housed in Paris. Alabaster, a translucent stone, was already prized by artisans in antiquity, while the tawny green breccia was used later, during the Roman era. Mirror Gate II It is thus conceived as a portal, capable of transporting visitors from one place to another while traversing eras and time.
“The fact that my sculpture is considered public art is particularly important to me, because it speaks to a wide audience. It is not limited to museum visitors, but touches everyone who passes by. As an artist, this is precisely what I want to prioritize: creating a work accessible to all.”, concludes the artist Pilar Zeta.
