{"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-artistas-contemporaneos-no-wexner-center-for-contemporary-art","status":"publish","type":"post","link":"https:\/\/tirinha.com\/ro\/605\/80-artistas-contemporaneos-no-wexner-center-for-contemporary-art\/","title":{"rendered":"80 de arti\u0219ti contemporani\u201d la Centrul Wexner pentru Art\u0103 Contemporan\u0103"},"content":{"rendered":"
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Mike Bidlo
Not Picasso (Fata \u00eenaintea oglinzii, 1932)<\/i>1986<\/p>\n

Ulei pe p\u00e2nz\u0103, 64,17 x 51,18 in. (163 x 130 cm)<\/p>\n

Colec\u021bie privat\u0103, cu amabilitatea Galerie Bruno Bischofberger<\/b><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

am plecat <\/span>Dup\u0103 Picasso: 80 de arti\u0219ti contemporani<\/i>, <\/i>marele spectacol de la Centrul Wexner al Universit\u0103\u021bii de Stat din Ohio, g\u00e2ndindu-m\u0103 c\u0103 pentru un spectacol at\u00e2t de mare am sim\u021bit foarte pu\u021bine momente de bucurie. \u0218tiu c\u0103 Picasso prime\u0219te puls \u00een vitez\u0103, iar expozi\u021bia se bazeaz\u0103 pe asta: Fi\u021bi martor la impactul s\u0103u artistic<\/i>. Spectacolul este \u00eengreunat de un impact mult, mult mai mic dec\u00e2t realizarea lui Picasso. <\/span>Din nefericire, aceast\u0103 loca\u021bie academic\u0103 de influen\u021be, ecouri \u0219i salut\u0103ri ne aduce o munc\u0103 care abia a\u0219teapt\u0103 s\u00e2ngele \u2013 \u0219i plaseaz\u0103 lucr\u0103ri interesante \u00een contexte \u00een care pare singuratic\u0103 \u0219i mic\u0103. Pe scurt, spectacolul este slab \u00een ceea ce prive\u0219te con\u021binutul care atinge probleme sau emo\u021bii umane primare.<\/span>
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\nOcazie pentru Dup\u0103 Picasso <\/i>Este cea de-a 25-a aniversare a Deichtorhallen Hamburg. S\u0103rb\u0103toarea lor este acest spectacol: artist uria\u0219 \u0219i un subiect care este mai important \u00een concept dec\u00e2t arta care o demonstreaz\u0103. Ad\u0103uga\u021bi \u00eemprumuturi din \u00eentreaga lume \u0219i avem un eveniment.<\/span>
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\nAcest spectacol \u00eencearc\u0103 f\u0103r\u0103 succes s\u0103 satisfac\u0103 dou\u0103 publicuri. De\u0219i poate fi un home run pentru academicieni, este un spectacol pentru un public general \u0219i curios. \u00cen efortul s\u0103u con\u0219tient de a concepe orice posibil\u0103 suprapunere a \u201ePicasso\u201d \u0219i \u201einfluen\u021b\u0103\u201d, ea irose\u0219te spa\u021biul \u0219i r\u0103bdarea privitorului \u00een \u00eensu\u0219iri obositoare ale operei lui Picasso; \u00een figuri izolate sau compozi\u021bie \u00eemprumutat\u0103 de la Picasso; \u0219i \u00een arta care reac\u021bioneaz\u0103 la icoanele sau stilurile lui Picasso. Rareori vedem sugestii despre modul \u00een care viziunea unui artist<\/span> <\/span>a realizat un plan de neconceput \u00eentr-o lume neatins\u0103 de Picasso. <\/span>
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Cindy Sherman, f\u0103r\u0103 titlu 280, <\/i>1989-93.
Imprimare color, 140x94x8cm. Cu amabilitatea lui
Neda Young, New York.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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M\u0103re\u021bia lui Picasso nu este o problem\u0103 \u0219i nici nu este dovedit\u0103 de numeroasele demonstra\u021bii ale m\u0103rcilor sale asupra arti\u0219tilor care \u00ee\u0219i \u00eensu\u0219esc sau \u00eemprumut\u0103 din opera sa. Cu excep\u021bia sensului academic, c\u00e2\u0219tig\u0103m pu\u021bin\u0103 apreciere pentru \u00eemprumuta\u021bi ca creatori de art\u0103 profund interesant\u0103 \u00een sine. \u00cen\u021belegerea noastr\u0103 asupra influen\u021bei este extins\u0103 \u0219i mai mult prin adaptarea unor materiale la o nara\u021biune curatorial\u0103. Autoportretul lui Cindy Sherman de ani de zile arat\u0103 interesul ei pentru istoria artei \u00een linii mari. Inspira\u021bia lui Picasso pentru F\u0103r\u0103 titlu 280<\/i> nu vorbe\u0219te mai mult despre o fascina\u021bie pentru Picasso \u00een mod specific dec\u00e2t portretele sale folosind imagini iconice dintr-o lume vast\u0103 a arti\u0219tilor. <\/span>

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\nRegizorul Deichtorhallen Hamburg, Dirk Luckow, scrie \u00een prefa\u021ba catalogului (tradus\u0103 din german\u0103):<\/span>
\u201eIpoteza expozi\u021biei este c\u0103 marea influen\u021b\u0103 pe care arta lui Picasso o are ast\u0103zi este c\u0103 opera sa \u0219i persoana lui nu pot fi separate...\u201d<\/span>

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

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

\n\u00a9 Mo\u0219ia lui Martin Kippenberger,<\/b><\/p>\n

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

Nu exist\u0103 nicio \u00eendoial\u0103 cu privire la faima personal\u0103 a lui Picasso. Dar sunt pentru separarea muncii de persoana. Am descoperit c\u0103, dedic\u00e2nd o parte a spectacolului celebrit\u0103\u021bii sale, curatorii nu mi-au f\u0103cut dec\u00e2t s\u0103-mi \u00eent\u0103reasc\u0103 sentimentul c\u0103 erau mai pu\u021bin interesa\u021bi de ceea ce este \u0219i poate face arta dec\u00e2t capcanele ei. Ego-ul lui Picasso \u2013 ca al oric\u0103rui artist \u2013 rezid\u0103 pe drept \u00een opera sa. Acest lucru trebuie s\u0103 se aplice tuturor arti\u0219tilor. Din p\u0103cate, m\u0103 tem, consider\u0103m c\u0103 acest lucru este adev\u0103rat \u0219i pentru imitatorii \u0219i satiri\u0219tii s\u0103i.<\/span>
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<\/span>Inspira\u021bia pentru o serie de fotografii de Martin Kippenberger a fost o fotografie cu Picasso \u00een lenjerie intim\u0103, afi\u0219at\u0103 aici pe afi\u0219ul spectacolului lui Kippenberger. \u00cen expozi\u021bie (nu exist\u0103 imagini disponibile), Kippenberger \u00eensu\u0219i se pozeaz\u0103 \u00een Picasso, purt\u00e2nd pantaloni scur\u021bi similari, \u00een largul s\u0103u \u00een jurul unui interior de nedescris. Spectacolul lui Kippenberger, la bine \u0219i la r\u0103u, se satirizeaz\u0103 pe sine \u0219i subiectul s\u0103u simultan. <\/span>
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\nAr fi u\u0219or s\u0103-l \u00eenlocuie\u0219ti pe Picasso cu o fotografie f\u0103r\u0103 c\u0103ma\u0219\u0103 a lui Vladimir Putin sau a lui Whitey Bulger pe un poster ca acesta, \u00eentr-o pozi\u021bie at\u00e2t de larg\u0103, pozi\u021bionat\u0103 chiar deasupra privitorului: Atitudinea masculin\u0103 grandioas\u0103 nu a \u00eenceput cu Picasso. Doar \u00een m\u0103sura \u00een care astfel de caracteristici sunt inerente lucr\u0103rilor lui Picasso ar trebui curatorii s\u0103 mute aceast\u0103 tem\u0103 din catalog \u00een galerie. Este o not\u0103 de subsol, una ciudat\u0103; jalnic sau amuzant, dup\u0103 cum dori\u021bi s\u0103 \u00een\u021belege\u021bi.<\/span>
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Khaled Hourani, Picasso \u00een Palestina, <\/i>2011. Vedere de instalare, (IAAP) Ramallah.
Prin amabilitatea lui Khaled Hourani; Fotografie Khaled Jarar<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

C\u00e2nd astfel de ipostaze sunt realizate de b\u0103rba\u021bi \u00eenarma\u021bi care protejeaz\u0103 o oper\u0103 de art\u0103, atunci ne afl\u0103m \u00eentr-un t\u0103r\u00e2m mult mai interesant \u0219i mai semnificativ. Mi se pare mult mai emo\u021bionant\u0103 aceast\u0103 fotografie a unui proiect care a adus un Picasso \u00een Cisiordania dec\u00e2t numeroasele reiter\u0103ri, imita\u021bii \u0219i reinterpret\u0103ri ale lui. Guernica<\/i> incluse \u00een spectacol. Robert Longo a fost invitat s\u0103 creeze o nou\u0103 lucrare pentru a fi inclus\u0103 \u00een expozi\u021bie \u0219i enormul s\u0103u c\u0103rbune Guernica Redactat <\/i>pretinde o pozi\u0163ie semnificativ\u0103. \u00cen compara\u021bie cu fotografiile lui Hourani (dintre care aceasta este una dintre c\u00e2teva), se simte c\u0103 Longo nu are, dincolo de conceptual, nicio leg\u0103tur\u0103 pulsatorie cu r\u0103zboiul, tortura sau chiar conflictul.<\/span><\/p>\n\n\n\n\n
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\nRoberto Longo, <\/span><\/span>Guernica redactat\u0103 (Dup\u0103 Guernica lui Picasso, 1937)<\/span><\/i>2014\/2015<\/span><\/p>\n

\nC\u0103rbune pe h\u00e2rtie montat\u0103, patru panouri, <\/span>111,4 x 248 in. (283 x 630 cm)<\/span><\/span><\/p>\n

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\nCu amabilitatea Galerie Thaddaeus Ropac, Paris \u2013 Salzburg<\/span><\/span><\/p>\n


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\n\u00a9 2015 Robert Longo \/ Artists Rights Society (ARS), New York<\/span><\/span><\/p>\n


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\nVedere a instala\u021biei de la Centrul Wexner, foto: Stephen Takacs<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


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\n\u00cen loc s\u0103 fie uluit (sau uluit) de m\u0103re\u021bia lui Picasso, Hourani a fost cu adev\u0103rat inspirat de arta lui Picasso. \u00cen plus, folose\u0219te <\/span>un tablou apolitic de Picasso pentru a-\u0219i concentra mesajul anti-r\u0103zboi, pentru a-l face ca <\/span>localizat \u0219i universal ca arta \u00eens\u0103\u0219i. Instalarea a fost<\/span> un act complex de creativitate care nu numai c\u0103 a r\u0103spuns lui Picasso, ci a construit pe el \u0219i dincolo de el.<\/span>
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Folkert de Jong, Les Saltimbanques: Fiul b\u0103tr\u00e2n \u201eJack T\u201d.<\/i><\/span>Styrofoam, spum\u0103 poliuretanic\u0103 \u0219i 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>
Colec\u021bie privat\u0103, New York.
Imagine prin amabilitatea Deichtorhallen Hamburg.<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


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\nSculptura de Folkert de Jong, <\/span>Les Saltimbanques: Fiul b\u0103tr\u00e2n \u201eJack T\u201d,<\/i> este un alt punct culminant al expozi\u021biei \u2013 o pies\u0103 cu o leg\u0103tur\u0103 clar\u0103 \u0219i recunoscut\u0103 cu Picasso, dar independent\u0103 de aceasta datorit\u0103 vitalit\u0103\u021bii sale. Este lansat de asocia\u021bii, dar nu este limitat de acestea. Diferen\u021ba de dimensiuni -<\/span>sculptur\u0103 sugerat\u0103 de mai multe figuri dintr-un tablou (<\/span>Familia saltimbanques, 1905)\u2014 <\/i>\u00een sine elibereaz\u0103 piesa de presupusul original. Arta lui De Jong \u00een a lui <\/span><\/span><\/span><\/span>a avea<\/span> <\/span>mediu creeaz\u0103 o singur\u0103 figur\u0103 care condenseaz\u0103 impactul mai multor \u00eentr-un exemplar solid de izolare debilitant\u0103. La fel ca Hourani, de Jong \u00eencepe cu Picasso \u0219i \u00ee\u0219i urmeaz\u0103 propriul drum sub luminile sale unice. <\/span>
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Cele mai bune lucr\u0103ri din spectacol, cele care demonstreaz\u0103 cel mai clar atingerea lui Picasso \u00een mintea arti\u0219tilor de mai t\u00e2rziu, apar at\u00e2t ochiului, c\u00e2t \u0219i logicii ca acelea \u00een care imaginile lui Picasso nu au<\/span> <\/span>s\u0103 apar\u0103. \u00cen colajele foto ale lui John Stezaker, avem una dintre pu\u021binele ocazii din acest spectacol enorm de a \u00eent\u00e2lni lucr\u0103ri ale unui artist care l-a digerat at\u00e2t de complet pe Picasso, \u00eenc\u00e2t noi, ca spectatori admiratori, am fi, probabil, surprin\u0219i, \u00een afara acestui spectacol, s\u0103-l fie eviden\u021biat. \u00een aceste piese. \u00centr-o expozi\u021bie cu pu\u021bine surprize, opera lui Stezaker iese \u00een eviden\u021b\u0103, oferind cu siguran\u021b\u0103 cel mai bun moment didactic al expozi\u021biei. L\u0103s\u00e2nd deoparte aproprierea, celebritatea \u0219i imita\u021bia, ce au ales arti\u0219tii contemporani s\u0103 p\u0103streze de la Picasso? Ce zici de a devenit incon\u0219tient\/inevitabil p\u00e2n\u0103 acum?<\/span><\/p>\n\n\n\n\n
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\nJohn Stezaker<\/span><\/span><\/p>\n

\nNunta I<\/span><\/i>2006<\/span><\/span><\/p>\n

\nColaj<\/span><\/span><\/p>\n

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

\nPrin amabilitatea Saatchi Gallery, Londra<\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


<\/span>
\n\u201eMarriage 1\u201d este compus dintr-un colaj de dou\u0103 fotografii alb-negru care nici nu se potrivesc, nici nu se potrivesc. <\/span>Putem studia piesa constant pentru perioade lungi de timp; va r\u0103m\u00e2ne la fel, dar nu vom fi niciodat\u0103 siguri c\u0103 vom defini subiectul (el\/ea\/el), c\u0103 vom descrie orientarea spa\u021bial\u0103 a imaginii sau c\u0103 vom r\u0103spunde la orice \u00eentreb\u0103ri \u201enormale\u201d despre identitate din imagine.<\/span>
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\nPerspectiva cubist\u0103 este invocat\u0103 fluent \u0219i elegant \u00een fotografii. Sentimentul de realitate reconfortant\u0103 pe care ni-l ofer\u0103 imaginile este mai persistent dec\u00e2t dezorientarea cubist\u0103. Ochii ne capteaz\u0103 intens: cum s\u0103 nu cunoa\u0219tem aceast\u0103 persoan\u0103; Cum se poate s\u0103 nu fim cunoscu\u021bi \u00een mod intim de cineva care ne poate privi at\u00e2t de profund? \u00cen timp ce ochii ofer\u0103 o focalizare profund\u0103, ne asum\u0103m ordine \u00een tot ceea ce ne \u00eenconjoar\u0103. Ochii no\u0219tri sar \u00een jurul a ceva ciudat, deplasat, incongru, ciudat... \u00cen bine? Pentru mai r\u0103u? Nunta 1<\/i>, ca \u0219i c\u0103s\u0103toria pentru mul\u021bi, este blocat\u0103 \u0219i se schimb\u0103. Tehnica, modul de a vedea, era nou cu Picasso \u0219i prietenii s\u0103i. Subiectul \u0219i prezentarea lui via<\/span> o perspectiv\u0103 prezentat\u0103 lumii \u00een urm\u0103 cu mai bine de un secol sunt genial ale lui Stezaker. Este proasp\u0103t \u0219i nou \u0219i profund informat.<\/span>
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\nNu invidiez sarcina de a planifica un sezon la Wexner sau orice alt spa\u021biu similar de art\u0103 contemporan\u0103 dintr-un campus universitar. Echilibrarea preten\u021biilor arti\u0219tilor academicieni \u0219i ale istoricilor de art\u0103 cu cele ale unui public informat \u2013 inclusiv studen\u021bi, profesori \u0219i personal nespecializa\u021bi \u2013 trebuie s\u0103 fie o sarcin\u0103 delicat\u0103 \u0219i dificil\u0103. De data aceasta, pendulul s-a balansat prea mult \u00eentr-o direc\u021bie, cred. <\/span>
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\nPrintre lucr\u0103rile incluse, multe pot fi secundare sau irelevante pentru temele principale ale lucr\u0103rilor individuale ale arti\u0219tilor. Dar chiar \u0219i a\u0219a, ce este acolo <\/span>Dup\u0103 Picasso: 80 de arti\u0219ti contemporani<\/i> prezint\u0103 \u00een mod clar un interes autentic \u0219i legitim pentru istoricii de art\u0103 \u0219i curatori. Dar, \u00eentruc\u00e2t spectacolul aduce cu sine galerii \u0219i galerii de art\u0103 mult mai pu\u021bin interesante dec\u00e2t cea care l-a inspirat \u2013 art\u0103 cu mesaje diluate din sursele sale \u2013 a vedea c\u0103 este s\u0103 munce\u0219ti din greu pentru pu\u021binele recompense de con\u021binut care exist\u0103. <\/span>
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\n__________________________________________<\/span>
\nMul\u021bumirile mele cele mai profunde lui Erik Pepple, managerul mass-media \u0219i rela\u021bii publice la Centrul Wexner pentru Arte, pentru eforturile sale extinse de a furniza imagini cu solicit\u0103ri speciale pentru acest articol.<\/span><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Mike BidloNo Picasso (Girl Before the Mirror, 1932)1986 Ulei pe p\u00e2nz\u0103, 64,17 x 51,18 in. (163 x 130 cm) Colec\u021bie\u2026 <\/p>","protected":false},"author":1,"featured_media":606,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"http:\/\/1.bp.blogspot.com\/-OWw1YG5l0jQ\/ViaM856QrMI\/AAAAAAAAHUM\/wfP7cVijU2A\/w1200-h630-p-k-no-nu\/Bidlo_Not+Picasso.jpg","fifu_image_alt":"","footnotes":""},"categories":[34],"tags":[],"class_list":["post-605","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","latest_post"],"yoast_head":"\n80 artistas contempor\u00e2neos" no Wexner Center for Contemporary Art - Tirinha.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tirinha.com\/ro\/605\/80-artistas-contemporaneos-no-wexner-center-for-contemporary-art\/\" \/>\n<meta property=\"og:locale\" content=\"ro_RO\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"80 artistas contempor\u00e2neos" no Wexner Center for Contemporary Art - Tirinha.com\" \/>\n<meta property=\"og:description\" content=\"Mike BidloN\u00e3o Picasso (Garota Diante do Espelho, 1932)1986 \u00d3leo sobre tela, 64,17 x 51,18 pol. 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