Perfect Lovers

With Untitled (Perfect Lovers), Gonzalez-Torres brings our attention to another painfully simple metaphor of love and partnership. The two clocks standing side by side reflect a connection between them. They seem to support each other, to be united, to move together as one peacefully. The stillness of the two timepieces, alongside the minimalism of the design and muted solid shades of white, black, and light blue, induce a sense of peace.ConclusionThe two clocks became a bitter-sweet representation for lovers. First, the piece marks the time when everything between the two perfect lovers is in sync, and simultaneously, it is an aide-mémoire that period of total bliss fades as time passes, and the two lovers move further and further apart. Nevertheless, the two clocks are at all times standing side by side, howbeit after years, they become hours apart.Gonzalez-Torres oeuvre explores the humanity behind the epidemic of HIV/AIDS. These odes usually use reproducibility and interaction with the audience to interconnect the depth of his love and loss. Untitled (Perfect Lovers) utilizes two ubiquitous objects that are eventually destined to interrupt their perfect harmony.In this piece, especially, the artist wished to include the audience/viewer as an active agent in producing its meaning. He set private memories and nostalgic journeys into the public domain, expecting to assist viewers in transcending the personal to arrive at a collective experience about the human spirit and social good.All images: Felix Gonzalez-Torres Foundation unless otherwise noted.

Perfect Lovers

In the final months before losing his lover to AIDS in 1991, Felix Gonzalez-Torres portrayed him as a 175-pound heap of cellophane-wrapped sweets. Piled up in a gallery, the multi-colored candies were intended to be taken one at a time by visitors, so that the quantity diminished like his lover's dwindling body weight. Yet unlike his lover, the sweets could also be replenished, and were each day. Occupying the perilous space between cool conceptualism and cloying sentimentality, "Untitled (Portrait of Ross in LA)" is one of the rare artworks to perfectly balance ideas and emotions, and Gonzalez-Torres is one of the rare artists to insist convincingly that there need be no dichotomy between thoughts and feelings.

Perfect lovers. Two clocks, in sync. Two schedules, two mechanical systems. Two heartbeats. They hang on the wall, high and off center. An afterthought. They go on, quietly and persistently. Imagine when they come off the wall and are transported to the next exhibition, or placed somewhere in storage. They keep ticking along, just out of synch with one another. I find myself hoping that they are allowed to stay together midst the bubblewrap. Surely, they must.

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