in the halls devoted to paintings of the Flemish school, visitors are invited to open the masterpieces of Van Eykov, Van der Weyden, Bosch, Metsu and Rubens through the eyes of this significant artist of modern art.
After the Academy of Fine Arts in Antwerp, Jan Fabre, gained fame as an author of dramatic texts. In the late 70's. it is provocative "actions" and "private performances". But, despite the fact that he carried out in theater productions, characterized by the extraordinary freedom, this "terrible child" Flemish "new wave" 80's. primarily working in the field of plastic arts.

In the auditorium of the Louvre a meeting with Fabre - dancer, choreographer and theater director, in which he tells about his work, linking different types of artistic activity.


is now a little bit of criticism :

What is the purpose of the exhibition Jan Fabre at the Louvre?

Aude de Kerros.
http://www.libertepolitique.com/publ...u-Louvre-.html

The reaction of most visitors to the exhibition of Belgian artist Jan Fabre at the Louvre - anger, fatigue and confusion. The organizers of its achieved its purpose, as the exhibition was designed precisely for such a reaction. As you know, the scandal is part of success. In not our intention to review the concept of the exhibition "Jan Fabre at the Louvre" was conceived as a "militant dispositif". We will try to answer the question: what is the purpose of this exhibition?

Perhaps visitors will be interested to know that this type of ystavok presented as avant-garde innovation, in fact, has long been known. It was invented in New York forty years ago. In 1969, Thomas Hoving, director of the Metropolitan Museum, organized the exhibition "Harlem of my imagination, which in the middle of the old art masterpieces from the museum collection were displayed samples of the black ghetto of self-expression: graffiti, political posters, religious music, dance, jazz bands, raising thus to the level of "high art".

The scandal about this show was stunning, said about him in all media. In the museum rushed a new mass audience, in particular, from Harlem. The 12 paintings from the museum collections, including a Rembrandt, was painted on a huge letter "H".

  Thomas Hoving invented the concept of the exhibition "blockbuster", whose aim is to change the mentality of the public, "blow up" her prejudices - in this case, to accustom the audience to the idea of multiculturalism. In Koncki 60-ies. American elite saw in this new way of confronting the murderous ideology of the ghetto uprisings and "reassure" the minority. This was absolutely necessary to break away from colonial Europe, creating the image of a culture of equality that was done at the expense of belittling "the great European art.

This formula "blockbuster" has reached its goal, to become willing to use it. KRENS Thomas, appointed in 1988 director of the Guggenheim Foundation, appealed to her to develop a new type of museum management, orgomnym enjoyed success for 20 years. Convinced that his role is to multiply the capital of the Fund, he created an international brand "Guggenheim". In order to finance their projects, he will not hesitate to sell, lease, lend exhibits from the permanent collection of the museum, but to fill a void, arranged temporary exhibitions, designed for the widest possible audience (first-class exhibition of motorcycles, clothing from the "haute couture" and so on etc.).

February 28, his otsobodili from his position that, judging by the responses in the press, caused a general feeling of great relief. Art historians and members of the American Museum lists the tremendous damage brought by this approach to museum and museum value.

In France, Henri Loyrette, take over the experience KRENS

President-CEO of the Louvre, Henri Loyrette following in the footsteps KRENS. Delocalized in the Louvre Lens, in Abu Dhabi, in Atlanta, will soon come of all of China. Was past the stingy granting the permanent collection of masterpieces from major museums in the world for prestigious exhibitions, now they shall be long-term lease, and shall not particularly reliable organizations in politically unstable countries. They even lend to private companies, everything is done to ensure the performance and entertainment. Alarmed by the staff of museums, art historians and the public are trying to prevent this, but their arguments do not receive any media coverage.

That this moment something and chose Henri Loyrette, to submit for public review its first major exhibition "blockbuster" with the smells of sulfur, Jan Fabre, operating in a spirit of avangvrda the 60-ies. Fabre resurrects concepts "Viennese School" in the most famous museum in the world.

Legalize, exalt and glorify the Contemporary Arts

Henri Luaett put myself with 2 goals: by the Louvre to legitimize contemporary art and glorify him. He justifies these goals need to "democratize" the museum by bringing in his audience, not interested in "high art", as the republican egalitarianism requires that all may enjoy museums.

"It is necessary to establish a dialogue between artists of the past and contemporary artists. In the official presentation of the exhibition, which received all its visitors, naapisano: "Jan Fabre, whose work extends beyond the boundaries of one genre, especially well with the new direction in the policy of the museum.

To convince the public of the correctness of the choice of the artist, carried out such parallels: Jan Fabre can be compared to Flemish painters because he, too, Fleming, and because it uses blood and bones in his installations, and artists of the past have used them in formulating pogientov. They have a theme - life, death, etc. Rubens rapisal Crucifixion? Well and good, but Fabre moved to the museum tombstones!

Modern art is glorified in the person of Jan Fabre. In the official text Fabre called "total artist": he is - a great designer, installer, dramatic author, publisher, creator of the plastic pieces and performances, choreographer, director ...

The strategy of this exhibition - to change the public's attitude of Cultural. Downplaying the Louvre, depriving him of "halo" of high culture, audiences are trained to think about vozmodzhnoy the delocalization of these values, putting them in the long-term lease. And instead of borrowed masterpieces will be to show something else, like modern art - look for it soon. Mr. Henry Luaett decided to make the "intangibles" profitability /.../

In the early eighties he became famous for staging his own plays "The Power of Theatrical Madness» (The power of theatrical madness) and "It's theater, as it should be waiting and anticipation» (It is theatre as it to be expected and foreseen). Both plays were received with delight and embarrassment. Produced a shock effect that Fabre did not follow the laws of neither traditional, nor that the avant-garde theater, which developed on the Brechtian model. His plays - an extraordinary collection of miniatures with an open style of creativity. He broke with the code of the existing theater, presenting performances in real time ( "real body in real time"), sometimes called "living installations", and also investigated the radical choreographic possibilities for renewal of the dance.
The course, which he should, Jan Fabre calls the "movement of one man" because he never sought refuge in a collective movement. An admirer of Leonardo da Vinci, Fabre created a unique, self-contained world: "I represent only themselves. In the seventies, Belgium was a desert. And suddenly, a new generation. Anne Teresa de Kirsmayker began in Brussels, brought up a few people. I - in Antwerp. Wim Vandekeybus four years worked in my troupe. We really raised the Belgian wave. But unite us stupid. Eventually Vandekeybus was a real choreographer, and I - his fans. And Ann seriously engaged in the dance, but it is more focused on American minimalism. I did not aspire to become a choreographer. Yes, and American art not like. I - artist. And I - Flemish European. Based on the classical tradition - in the painting by Jan van Eyck. In the dance, I love as a means. <...> I am interested in the flesh: blood, sweat, semen, tears. Surface polished presentation, but the actress gives her shade of sexuality, sensuality. I work with actresses who can not be replaced ... "
  From the site of the Louvre
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Fabre and ballet article: http://kommersant.ru/doc.aspx?DocsID...amp;print=true

In 2003, two world's largest museum, the Louvre and the Hermitage, announced their initiatives in this area. The Louvre has created the post of curator of contemporary art and initiated a series of exhibitions of new art projects. Hermitage presented within its walls the work of Spanish sculptor Eduardo Chillida and the first time in the history of the museum shows works of video art. The current exhibition of the Louvre (Anselm Kiefer, Jan Fabre) and Hermitage ( "America today," Chuck Close) attract the attention of an increasing number of spectators and raises many controversial issues. Today, after five years of hard work, it is time to answer some of these issues and to discuss pressing issues, the time to research the future role of traditional museum in presenting contemporary art.

Topics for the roundtable:
• Why a new art show in the old museum? Why not leave a lot to the museum of modern art?
• Contemporary art and historical collection: how successful dialogue?
• Architecture of the old museum and new art forms: harmony or conflict?
• Do the traditional museum changed to safely let into their new wall art? What should be changed?
• Should a collection of contemporary art part of the museum?
• What are the criteria for the selection of works of modern art to traditional museums?
• Collection of modern art as a historical phenomenon: does it today in museums is something new?
• How to "taste" of the museum affects the selection of exhibits?
• Old museums in a new world: how the art market influences the policy of museums in contemporary art?
• Is the function of the museum curator was distinct from the curator of contemporary art galleries?
• Does the museum to engage in the formation of the audience for contemporary art?
• Rada whether museums seriously engaged in a work of modern art?

6 Apr. 2008, 18h00 to 19h00
ArtParis 2008, GRAND PALAIS, 7 LOUNGE

Av. Winston Churchill, 75008 Paris
Parkings: Rond Point des Champs-Elysées, Invalides-Concorde; Access Métro: Champs-Elysées-Clémenceau; Buses: 28-72-83


The round table:

Michael Piotrowski, director of the State Hermitage
Henri Loyrette, director of the Louvre (to be confirmed)
Dmitry Ozerkov, Curator of Contemporary Art of the State Hermitage
Marie-Laura Bernadak, curator of contemporary art of the Louvre
Nicola Chibaeff, Commissioner of France in Russia and the Year of Russia in France (2010)
Tim Marlow, journalist, art historian, writer