The future of art meets the past
What is new in contemporary art ? Hermes On Sale Old. We are in a time of cultural remake , an outbreak of foot reconstruction . Young artists . Various styles, which were hot for half a century The Art of Performance in the past repeatedly . Exposures that have been made and made - to Matisse , Picasso, European abstraction - are back .
The industry of technology , renowned for his memory in nanoseconds , suddenly became aware of the story? Is the art market, like Hollywood , nervous about everything, but good brands? The art is simply out of ideas ? Whatever the answer , the replicants to get ahead was a recently a particularly ambitious reconstruction ultrafastidious 1969 show, " When Attitudes Become Form " at the Prada Foundation in Venice.
The original version , which was held in Bern, Switzerland , has an almost mythical reputation as the benchmark in the late 20th Century . It brought some of the adventurous young European and American avant-garde of the day , exhibitors, supposedly anti - market, post- pop, post- minimalist art as a concept and process trends. He led her to a climax of political and cultural turmoil in the international level , and in which what is seen as a form radically loosened exhibition of art created collectively , spontaneously , on the spot .
The actual event was pretty quiet . Bern had the idea of a person 's art capital . The site of the exhibition , Kunsthalle was built in 1918 , drably bad. The show was gray in March , was only a month and drew confused only a small amount .
Perplexity was understandable. The works of nearly 70 artists, stuck on two floors and a neighboring building in the area, was not quite the sculpture and was certainly not the color . His mediums include ice, fire , glass breakage - , lead, leather, felt , fluorescent tubes , peas - , coal and margarine. Cables snaked through the halls , wrapped electrical son in a stairwell. Nothing has been done or is behind or chandeliers, and the visitors were at work , but it was hard to tell where the art ends and the damage began.
Some damage was art . A piece of American " artists of the Earth" by Michael Heizer made perforated crater with a wrecking ball in the sidewalk in front of the museum. While the response to the population , everything was in a bad mood for hilarity , bureaucracy took a more serious view. Some people were so outraged Kunsthalle they actually forced the resignation of the Director of the Institute , Szeemann , who is also the curator of the exhibition .
Too late. The news was spread in the world of art. The show - its full title was " Live in Your Head : When Attitudes Become Form : Works , Concepts , processes, situations , information " - was now history, a dramatic moment .
This is partly as a monument , artifact , the Prada Foundation has re-exposure , laboriously pursue art , commissioning artists to pieces , and put in the successions are copies of working artists have lost or fragile.
Hermes Birkin Handbags
This crop year could have only archive a torch or just a hole. In any case, the three persons are in the project responsible Prada - Conservative Germano Celant , in 1969 worked with Szeemann , the Dutch architect Rem Koolhaas and German artist Thomas Demand , who photographed the architectural sculptures, large scale paper. They decided not only to collect the content , but also the physical context , the Kunsthalle, in the premises of the Venetian Prada Foundation new: a 18th century palace , Ca ' Corner della Regina on the Grand Canal.
They were in " When Attitudes Become Form : Bern 1969/Venice 2013," which combines the likelihood with wonkish strategic uncertainty . Galleries of the Berne were reconstructed exact one-to -one scale to the palace , but are spread over three floors , rather than two , as in Berne. In addition, Appendix Kunsthalle, the caretakers , the 1969 work instead came too late for the main show has been revamped as Loftlike room on the fourth floor .
And while the details Galleries Bern - door frames, drawings on the ground, on the surface of white color , also radiator - copied, the gallery walls are treated as dwellings of the scene, with their edges , as if using a jigsaw for the ornate columns and cornices of the Palazzo cut square. In addition, no galleries have inserted ceilings, lift up your eyes and you see arches and Italian frescoes from the 18th Century .
In this context, put Mr. Celant , through memories and photographs to each work of art on the exact spot he had held 44 years ago . If an item is missing , its place is marked on the wall or on the floor. Among the few works completely missing are those outside the art gallery or the area disturbed as Mr. Stoker , who physically make it . At the same time, the Prada nesting architecture within the architecture itself is a failure , and smart. Turns replication in a form that the art of the past and present, and made such myths to reconsider .
We can see , for example , that the reputation of the show as improvised and chaotic is unfounded . Planning was careful . Some galleries are concentrated on older figures such as Joseph Beuys and Edward Kienholz , the ancestors of young artists could be considered . A space has been attributed to minimalist and conceptual classics such as Carl Andre and Sol LeWitt . A contingent of the Arte Povera artists , especially Italians , was a space of their own . The largest gallery of all required a concentration of young Americans : Eva Hesse , Keith Sonnier , Alan Saret and Walter De Maria (who died last month ) among them.
Was not the politically radical show. Little of this work was valid. The artists were almost exclusively white and Euro - Americans. Only three - Hesse , Jo Ann Kaplan and Darboven - were women. Moreover, far from being a matter of bootstrap -against- culture show floating on a cloud of money. A selection of materials on the ground floor of the Prada Foundation shows you that Philip Morris, the tobacco companies , the feet of a piece of the bill, in an early example of big business port of the art of lace as a feather in his hat.
This is an arrangement of public relations routine today . The Prada show - and many other products in the remake culture - can be used as an example of prices , a costly step , culture serves to burnish the reputation of companies. The show is completely devalue ? No, I have learned a lot from him.
I have learned the value - the value of the dollar and , one might say , the spiritual value - myth. I learned that the show in the history anchored Szeemann , now newly - ordained by Prada , was not ideal at the top, it was cracked up to be . Instead, it was the end of that idea and the beginning of another. It was the end of a short, illusory effort by the art of creating an existential economy out of the market , and the beginning of the art market as we know it now .
And I learned a lot , to see the beginning, and in most cases the best work of different artists that I love , and to see them in the context of intimate conversation . ( The catalog , with hundreds of pictures of artists, the facility in Bern in 1969 , is the most exciting part of the show. ), I Reminded me that although packaged , sold, and cryopreserved in the course of time , this work has been difficult , time , type - testing, calibration and expansive thinking refusenik . So, people who did this were . So few artists .Hermes Kelly Handbags
We remind you that in Venice, and - if I do not be romantic - it is your faith.