Brief history of one of the exhibition and the controversy that erupted around

[LCR]

Announcement on the official website of the Louvre was:

exhibitions.
From April 1 to July 7, 2008
Jan Fabre at the Louvre - Angel metamorfohy

Contemporary Art

In connection with the successful exhibition "Counterpoint", organized by the Louvre for the past three years, the museum continues its policy in the field of contemporary art and living artists. In 2008, he gives "carte blanche" to Jan Fabre.

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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 /.../

That is, as you think we are in Paris as a cheese with a lord

Finally, a few photos of the exhibition (the most neutral - in fact among the readers of this forum may be nervous citizens, not to mention pregnant women). I do not remember whether there are visible figures Fabre, but in any case will show their technique:

blood, semen /paper

[iosif]

art requires sacrifice

[fross]

Where there are no clear criteria for determining the truth always porotsvetayut swindlers and cheats. And this is true for every sphere of human activity.
Here you try to convince someone that 2X2 = 5, and to convince that Jan Fabre "significant artist of modern art" - succeed. Turns! Exhibition (yes, and even personal) in the Louvre! Who in this life are honored with?

[Евгений]

fross, I think it should deal in the works of Jan Fabre (swindler and crook throw these words are not worth it.)
Attachment 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

[LCR]

Wait a minute, Eugene,

I do not pretend to infallibility, but the story to write something I do not, I just translated it.

Generally speaking, in my opinion is just not, at the exhibition, I was not.

I laid out the text because it seemed to me that his problems go beyond creativity Fabre and puts common questions of museum policy and the coexistence of old and modern art (you listed).

Materials on the round table on the internet I have not yet found, though sought. Somewhere they should be, I will look for more.

Here are some photos.

You do not find that the passion of contemporary artists - the critics of consumer society, etc. to gold and, in general, everything that shines, that amazing? I'm not talking only about Fabre

[Евгений]

Interesting article on the topic

"The Hermitage his view of contemporary art" - http://bia-news.ru/news/60000

[JM-G]

I was at this show ... One of the main exhibits - a sculpture of the Jan Fabre, resting his nose in the picture of the old masters (can not remember which). appeared in the same river of blood. Even at the exhibition were presented numerous cockroaches (thank God, not real) and a giant worm among the tombstones (see photo LCR). Worm moved and hissed. People laughed and said, "Disgusting. In my opinion, it was in the halls of Dutch artists. perhaps someone thought that the Dutch themselves, without Fabre, boring. frankly, I do not think that someone from visitors to the museum was delighted, and went after the show to buy the album Fabra.

[Евгений]

JM-G, Thank you, your opinion is interesting ..

[color="# 666686"]Added after 1 minute[/color]

Originally Posted by JM-G

go after the show to buy the album Fabra.

I would personally bought with great pleasure, sorry no one in Russia.
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Attachment 18885
J. Fabre

[Vladimir]

Originally Posted by LCR

Do not you think that the passion of contemporary artists - the critics of consumer society, etc. for gold, and in general, everything that glitters is surprisingly?

I do not think that these artists podygryvyut calling consumerism (in Russia it is very accurately known as "potreblyatsvom"). Rather, it's just reproach, banter over the prestigious consumption over the new "flavors". Once the buyer is aimed at luxury - to you the golden notebook with keyboards made of ivory and diamond cherer of platinum. Is not it? Besides platinum Vertu phone in this sense, in my opinion much more vulnerable (in terms of vulgarity) than art yuvelirka.

[Евгений]

Vladimir, You may be right, but you must understand ..