Pentru ca legea copyright-ului nu-mi permite, nu pot sa va atasez imaginea tabloului lui Asger Jorn, "The Timid Proud One" ("Le Timide Orgueilleux") vazuta la Tate Mododern, Londra. Dar, daca o sa va fac macar un pic curiosi, veti merge singuri sa o cautati pe site: www.tate.org.uk.
Imaginea ca imaginea, dar ceea ce nici eu nu ma asteptam sa gasesc, sa ma agat de si sa ma impresionez, a fost eticheta ei. Inchipuiti-va, ca intr-o perioada in care eticheta este pusa la mare incercare (pentru ca, se spune, vizitatorii nu mai citesc asa ceva de plictisiti ce sunt si de lungi ce sunt ele, etichetele) eu am rams cu gura efectiv cascata citind cateva la Tate. Imi propusesem o vizita scurta, de maxim o ora in Galeria de Arta Moderna londoneza. Ma gandeam ca imi va fi suficient sa parcurg intreaga expozitie permanenta, pt ca de obicei privesc in graba totul, de la distanta, si ma apropii numai de ceea ce-mi face cu ochiul. Surpriza, asa cum spuneam, a fost ca am inceput sa citesc etichetele si ca ele m-au captivat intr-atat de mult, m-au bucurat si luminat, incat, din toata expozitia pemanenta am vazut o singura incapere.
Sa va dau un exemplu.
"Jorn had been a proeminent member of the CoBrA, a group of norther European artists whose improvisatory approach to painting was intended as a way of liberating their work from repressive bourgeois conventions. Although this painting was made several years after the group disbanded, it's child like style reflects the same principles. The figure embodies some misterious inner struggle, perhaps reflected in the title. John was a great believer in those kind of opposed dualities. "Tension in a work of art is negative-positive: repulsive-attractive, ugly - beautiful. If one of these poles is removed, only boredom is left," he said."
Si cu gandul la timidul orgolios, la tensiunile din arta si din viata oamenilor, privind iar la tablou si gandindu-ma iar la plictiseala si ce e aia plictiseala (in viata, arta) am tot stat si-am tot gandit. Si, evident, am privit tabloul cu alti ochi.
Objects, stories and museums, things that attempt to break the barriers of what a cultural institution should do. Why the Monday Museum? Because some years ago in some parts of the world, museums were still closed on Mondays. There is this paradox of an every banal day spent thinking at materiality when institutions which are in charge with exhibiting materiality are closed. We invite you to like paradoxes and provocations no mater where and how.
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