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 /.../
15.07.2008, 17:00
Brief history of one of the exhibition and the controversy that erupted around
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