fross, I think it should deal in the works of Jan Fabre (swindler and crook throw these words are not worth it.)
Вложение 18875
J. Fabre. Sanguis Sum. 2001. Private collection
"In mid-April in the Louvre exhibition kicked off" Angel metamorphosis ", dedicated to works of Belgian artist and choreographer Jan Fabre-extremals.
After completing his training in the Belgian Royal Academy of Arts and the Institute of Decorative Arts in Antwerp in the late 1970's., Jan Fabre loudly declared itself provocative performances and productions. He drew his own blood and arranged "Money" submission, which burned the money of the public. Famous was a rally "Russian roulette", in which Fabre was invited six critics, representing different arts, shoot him with a revolver. Shares of Jan Fabre, whose nature has always been somewhere between art and theater activities, described in books on modern dance and contemporary art.
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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
[color="# 666686"]Posted 12 minutes[/color]
LCR, Dear Liana in Paris held a roundtable on this teme.U you accidentally no information, as was discussed? :
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Roundtable, organized within the framework of «Art Paris 2008", aims to unite the leaders of the museum and gallery community to consider the need for contemporary art to traditional museums, as well as to discuss strategies and ways of presentation.
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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