Tucked away in Champigny-sur-Marne, Avenue Clara holds a secret. It’s connected to a monumental artwork that once graced the prestigious Tuileries Garden in Paris. Avenue Clara isn’t named after the sculpture, but their stories intertwined in a fascinating way. Richard Serra’s “Clara-Clara,” a massive installation of two curved corten steel sheets, was unveiled in the Tuileries in 1983. Parisians were outraged. They felt the modern sculpture clashed with the garden’s classical design. Petitions circulated demanding its removal. Some even said it destabilized the view of iconic landmarks like the Luxor Obelisk and the Arc du Carrousel. “Clara-Clara” was named after Serra’s wife, but its presence in the Tuileries was short-lived. After only six months, it was removed and stored in Ivry-sur-Seine. Years later, the sculpture was resurrected and placed in Parc de Choisy in the thirteenth arrondissement. But even there, it faced criticism. Graffiti covered its surface, and it became a shelter for the homeless. Again, it was removed and stored away. “Clara-Clara” made a final return to the Tuileries in 2008, thanks to the support of art institutions. But public opinion hadn’t changed. After a brief reappearance, it was dismantled yet again and returned to storage in Ivry-sur-Seine, where it remains today. Avenue Clara, though geographically separate, shares a connection with this artwork’s tumultuous journey. Both exist in the shadow of Paris, touched by a moment of artistic controversy.
Église Notre-Dame de l’Air
Beneath what appears to be a simple stone and wood structure lies a history interwoven with faith aviation and community.