{"id":605,"date":"2022-06-23T21:33:59","date_gmt":"2022-06-23T21:33:59","guid":{"rendered":"https:\/\/tirinha.com\/80-artistas-contemporaneos-no-wexner-center-for-contemporary-art\/"},"modified":"2022-06-23T21:33:59","modified_gmt":"2022-06-23T21:33:59","slug":"80-suvremenih-umjetnika-u-wexnerovom-centru-za-suvremenu-umjetnost","status":"publish","type":"post","link":"https:\/\/tirinha.com\/hr\/605\/80-artistas-contemporaneos-no-wexner-center-for-contemporary-art\/","title":{"rendered":"80 suvremenih umjetnika\u201d u Centru za suvremenu umjetnost Wexner"},"content":{"rendered":"
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Mike Bidlo
Nije Picasso (Djevojka pred ogledalom, 1932.)<\/i>1986<\/p>\n

Ulje na platnu, 64,17 x 51,18 in. (163 x 130 cm)<\/p>\n

Privatna zbirka, ljubazno\u0161\u0107u Galerie Bruno Bischofberger<\/b><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

oti\u0161ao sam <\/span>Nakon Picassa: 80 suvremenih umjetnika<\/i>, <\/i>veliki show u Wexner centru Sveu\u010dili\u0161ta Ohio, misle\u0107i da sam za tako veliki show osjetio vrlo malo trenutaka radosti. Znam da Picassu ubrzava puls, a izlo\u017eba se nadovezuje na to: Svjedo\u010dite njegovom umjetni\u010dkom utjecaju<\/i>. Predstava je optere\u0107ena utjecajem koji je puno, puno manji od Picassova postignu\u0107a. <\/span>Na\u017ealost, ova akademska lokacija utjecaja, odjeka i pozdrava donosi nam rad koji jedva uzburka krv \u2013 i postavlja zanimljiv rad u kontekste u kojima se \u010dini usamljenim i malim. Ukratko, emisija je slaba \u0161to se ti\u010de sadr\u017eaja koji se doti\u010de primarnih ljudskih problema ili emocija.<\/span>
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\nPovod za Nakon Picassa <\/i>25. je godi\u0161njica Deichtorhallen Hamburg. Njihovo slavlje je ovaj show: Ogroman umjetnik i subjekt koji je va\u017eniji u konceptu od umjetnosti koja ga pokazuje. Dodajte zajmove iz cijelog svijeta i imamo doga\u0111aj.<\/span>
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\nOva predstava bezuspje\u0161no poku\u0161ava zadovoljiti dvije publike. Iako je to mo\u017eda doma\u0107a igra za akademike, to je predstava za op\u0107u i znati\u017eeljnu publiku. U svom svjesnom nastojanju da zamisli svako mogu\u0107e preklapanje \u201cPicassa\u201d i \u201cutjecaja\u201d, trati gledateljev prostor i strpljenje u zamornom prisvajanju Picassova djela; u izoliranim figurama ili kompoziciji posu\u0111enoj od Picassa; iu umjetnosti koja reagira na Picassove ikone ili stilove. Rijetko vidimo sugestije o tome kako umjetnikova vizija<\/span> <\/span>postigao nepojmljivu ravninu u svijetu koji Picasso nije dotaknuo. <\/span>
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Cindy Sherman, Bez naslova 280, <\/i>1989-93.
Tisak u boji, 140x94x8cm. Ljubazno\u0161\u0107u
Neda Young, New York.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Picassova veli\u010dina nije problem, niti je dokazana mnogim demonstracijama njegovih znakova na umjetnicima koji prisvajaju ili posu\u0111uju njegova djela. Osim u akademskom smislu, malo cijenimo posu\u0111iva\u010de kao stvaratelje vrlo zanimljive umjetnosti same po sebi. Na\u0161e razumijevanje utjecaja dodatno je pro\u0161ireno prilagodbom nekog materijala kustoskom narativu. Autoportret Cindy Sherman godinama pokazuje njezino zanimanje za povijest umjetnosti. Picassova inspiracija za Bez naslova 280<\/i> ne govori vi\u0161e o fascinaciji Picassom posebno od njegovih portreta koji koriste ikoni\u010dne slike iz ogromnog svijeta umjetnika. <\/span>

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\nDirektor Deichtorhallen Hamburg Dirk Luckow pi\u0161e u predgovoru kataloga (prijevod s njema\u010dkog),<\/span>
\u201cHipoteza izlo\u017ebe je da Picassova umjetnost danas ima veliki utjecaj jer se njegov rad i njegova osoba ne mogu odvojiti\u2026\u201d<\/span>

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Galerie Leyendeker, Tenerife (T. \u00dc.)<\/p>\n

1985., sitotisak, 83,8 x 59,4 cm<\/p>\n

\n\u00a9 Imanje Martina Kippenbergera,<\/b><\/p>\n

\n Galerie Gisela Capitain, K\u00f6ln<\/b><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Nema sumnje u Picassovu osobnu slavu. Ali ja sam za odvajanje rada i \u010dovjeka. Otkrio sam da su kustosi posvetiv\u0161i dio izlo\u017ebe njezinoj slavnoj osobi samo u\u010dvrstili moj osje\u0107aj da ih manje zanima \u0161to umjetnost jest i \u0161to mo\u017ee nego njezine zamke. Picassov ego \u2013 kao i svakog umjetnika \u2013 s pravom prebiva u njegovom djelu. Ovo se mora odnositi na sve umjetnike. Na\u017ealost, bojim se, nalazimo da to vrijedi i za njegove imitatore i satiri\u010dare.<\/span>
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<\/span>Inspiracija za seriju fotografija Martina Kippenbergera bila je fotografija Picassa u donjem rublju, prikazana ovdje na plakatu Kippenbergerove izlo\u017ebe. Na izlo\u017ebi (nema dostupnih slika) sam Kippenberger pozira kao Picasso, u sli\u010dnim kratkim hla\u010dama, opu\u0161ten u neopisivom interijeru. Kippenbergerova emisija, u dobru i u zlu, satirizira sebe i svoju temu istovremeno. <\/span>
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\nPicassa bi bilo lako zamijeniti fotografijom bez majice Vladimira Putina ili Whiteyja Bulgera na ovakvom posteru, u tako \u0161irokom stavu, postavljenom tik iznad promatra\u010da: Grandiozni mu\u0161ki stav nije zapo\u010deo s Picassom. Samo u mjeri u kojoj su takve karakteristike svojstvene Picassovim djelima, kustosi bi trebali premjestiti ovu temu iz kataloga u galeriju. To je fusnota, \u010dudna; jadno ili zabavno, kako ho\u0107ete da ga shvatite.<\/span>
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Khaled Hourani, Picasso u Palestini, <\/i>2011. Prikaz instalacije, (IAAP) Ramallah.
Ljubazno\u0161\u0107u Khaleda Houranija; Fotografija Khaled Jarar<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Kada takve poze izvode naoru\u017eani ljudi koji \u0161tite umjetni\u010dko djelo, onda smo u puno zanimljivijem i sadr\u017eajnijem podru\u010dju. Smatram da je ova fotografija projekta koji je doveo Picassa na Zapadnu obalu mnogo dirljivija od mnogih ponavljanja, imitacija i reinterpretacija Guernica<\/i> uklju\u010deni u emisiju. Robert Longo je pozvan da izradi novi rad za uvr\u0161tenje na izlo\u017ebu, kao i njegov golemi ugljen Guernica Redigirano <\/i>tvrdi da ima zna\u010dajan polo\u017eaj. U usporedbi s Houranijevim fotografijama (od kojih je ovo jedna od nekoliko), \u010dini se da Longo nema, osim konceptualne, nikakve pulsiraju\u0107e veze s ratom, mu\u010denjem ili \u010dak sukobom.<\/span><\/p>\n\n\n\n\n
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\nRoberto Longo, <\/span><\/span>Redigirana Guernica (nakon Picassove Guernice, 1937.)<\/span><\/i>2014\/2015<\/span><\/p>\n

\nUgljen na montiranom papiru, \u010detiri plo\u010de, <\/span>111,4 x 248 in. (283 x 630 cm)<\/span><\/span><\/p>\n

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\nLjubazno\u0161\u0107u Galerie Thaddaeus Ropac, Pariz \u2013 Salzburg<\/span><\/span><\/p>\n


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\n\u00a9 2015. Robert Longo \/ Dru\u0161tvo za prava umjetnika (ARS), New York<\/span><\/span><\/p>\n


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\nPogled na instalaciju u Wexner centru, foto: Stephen Takacs<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


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\nUmjesto da bude zakr\u017eljao (ili zapanjen) Picassovom veli\u010dinom, Hourani je bio istinski inspiriran Picassovom umjetno\u0161\u0107u. Nadalje, koristi se <\/span>Picassova apoliti\u010dna slika kako bi usredoto\u010dila svoju antiratnu poruku, kako bi bila kao <\/span>lokalizirana i univerzalna poput same umjetnosti. Instalacija je bila<\/span> slo\u017eeni \u010din kreativnosti koji ne samo da odgovara Picassu, ve\u0107 se nadogra\u0111uje na njemu i izvan njega.<\/span>
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Folkert de Jong, Les Saltimbanques: Stari sin "Jack T."<\/i><\/span>Stiropor, poliuretanska pjena i pigment;<\/span>
<\/span><\/span><\/span>69,6 x 21,6 x 19,6 in. <\/span><\/span>(176,86 x 54,94 x 49,86 cm)<\/span>
Privatna zbirka, New York.
Slika ljubazno\u0161\u0107u Deichtorhallen Hamburg.<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


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\nSkulptura Folkerta de Jonga, <\/span>Les Saltimbanques: Stari sin 'Jack T,'<\/i> je jo\u0161 jedan od vrhunaca izlo\u017ebe \u2013 djelo s jasnom i prepoznatom vezom s Picassom, ali neovisno o tome zbog svoje vitalnosti. Pokre\u0107u ga udruge, ali se njima ne ograni\u010dava. Razlika u dimenzijama-<\/span>skulptura sugerirana vi\u0161estrukim figurama na slici (<\/span>Obitelj Saltimbanques, 1905)\u2014 <\/i>samo po sebi osloba\u0111a djelo od pretpostavljenog izvornika. De Jongova umjetnost u njegovoj <\/span><\/span><\/span><\/span>imati<\/span> <\/span>medij stvara jednu figuru koja kondenzira utjecaj nekoliko u \u010dvrst primjer iscrpljuju\u0107e izolacije. Poput Houranija, de Jong po\u010dinje s Picassom i slijedi vlastiti put pod njegovim jedinstvenim svjetlima. <\/span>
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Najbolji radovi u izlo\u017ebi, oni koji najjasnije pokazuju Picassov doseg u umovima kasnijih umjetnika, izgledaju i oku i logici poput onih u kojima Picassove slike nisu.<\/span> <\/span>da se pojavi. U foto kola\u017eima Johna Stezakera imamo jednu od rijetkih prilika u ovoj golemoj izlo\u017ebi susresti se s djelima umjetnika koji je tako potpuno probavio Picassa da bismo mi, kao gledatelji koji se dive, izvan ove izlo\u017ebe vjerojatno bili iznena\u0111eni da je on izdvojen u ovim komadima. U izlo\u017ebi s malo iznena\u0111enja, Stezakerov rad se isti\u010de i svakako predstavlja najbolji didakti\u010dki trenutak izlo\u017ebe. Osim prisvajanja, slave i imitacije, \u0161to su suvremeni umjetnici odlu\u010dili zadr\u017eati od Picassa? \u0160to je s tim \u0161to je do sada postalo nesvjesno\/neizbje\u017eno?<\/span><\/p>\n\n\n\n\n
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\nJohn Stezaker<\/span><\/span><\/p>\n

\nVjen\u010danje I<\/span><\/i>2006<\/span><\/span><\/p>\n

\nKola\u017e<\/span><\/span><\/p>\n

\n9,25 x 11,22 in. (23,5 x 28,5 cm)<\/span><\/span><\/p>\n

\nLjubazno\u0161\u0107u galerije Saatchi, London<\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span>
\n\u201cBrak 1\u201d je sastavljen od kola\u017ea dviju crno-bijelih fotografija koje se ne sla\u017eu niti sla\u017eu. <\/span>Mo\u017eemo dugo prou\u010davati komad neprestano; ostat \u0107e isti, ali nikada ne\u0107emo biti sigurni u definiranju subjekta (on\/ona\/njega), opisivanju prostorne orijentacije slike ili odgovoru na bilo koja \u201cnormalna\u201d pitanja o identitetu iz slike.<\/span>
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\nNa fotografijama se te\u010dno i elegantno priziva kubisti\u010dka perspektiva. Osje\u0107aj utje\u0161ne stvarnosti koji nam slike daju postojaniji je od kubisti\u010dke dezorijentiranosti. O\u010di nas intenzivno zarobljavaju: kako tu osobu ne poznajemo; Kako mo\u017ee biti da nas intimno ne poznaje netko tko nas mo\u017ee pogledati tako duboko? Dok o\u010di osiguravaju dubok fokus, mi preuzimamo red u svemu oko sebe. Na\u0161e o\u010di skaku\u0107u oko svega \u0161to je \u010dudno, neumjesno, neprikladno, \u010dudno... Na bolje? Na gore? Vjen\u010danje 1<\/i>, poput braka za mnoge, zapeo je i mijenja se. Tehnika, na\u010din gledanja, bio je nov kod Picassa i njegovih prijatelja. Predmet i njegovo predstavljanje putem<\/span> uvid predstavljen svijetu prije vi\u0161e od jednog stolje\u0107a briljantno su Stezakerovi. Svje\u017e je i nov i duboko informiran.<\/span>
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\nNe zavidim na zadatku planiranja sezone u Wexneru ili bilo kojem sli\u010dnom prostoru suvremene umjetnosti na fakultetskom kampusu. Uravnote\u017eiti tvrdnje akademskih umjetnika i povjesni\u010dara umjetnosti s tvrdnjama informirane javnosti - uklju\u010duju\u0107i nespecijalizirane studente, nastavno osoblje i osoblje - mora biti delikatan i te\u017eak zadatak. Mislim da je ovaj put njihalo previ\u0161e krenulo u jednom smjeru. <\/span>
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\nMe\u0111u uklju\u010denim djelima, mnogi mogu biti sekundarni ili neva\u017eni za glavne teme radova pojedinih umjetnika. Ali i pored toga, \u0161to je tu je <\/span>Nakon Picassa: 80 suvremenih umjetnika<\/i> jasno je od istinskog i legitimnog interesa za povjesni\u010dare umjetnosti i kustose. Ali budu\u0107i da izlo\u017eba sa sobom donosi galerije i galerije umjetnosti mnogo manje zanimljive od one koja ju je inspirirala \u2013 umjetnost s porukama razvodnjenim iz svojih izvora \u2013 vidjeti je zna\u010di naporno raditi za nekoliko nagrada sadr\u017eaja koji postoje. <\/span>
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\n__________________________________________<\/span>
\nNajiskrenije zahvaljujem Eriku Peppleu, voditelju odnosa s medijima i javno\u0161\u0107u Wexner Center for the Arts, na njegovim velikim naporima u pru\u017eanju slika na posebne zahtjeve za ovaj \u010dlanak.<\/span><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Mike BidloNo Picasso (Djevojka pred ogledalom, 1932.) 1986. ulje na platnu, 64,17 x 51,18 in. 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