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Старый 21.03.2009, 15:28 Язык оригинала: Русский       #1
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По умолчанию Modern art is intended only to ensure that plunge the viewer into shock

«Contemporary art is intended only to ensure that plunge the viewer into shock"
Interview with Michel David-Vejle

Libération », 19.03.2009


The carcass of a bull, built from free from hard beetles and placed in front of a still life with a bull's carcass, written by Rembrandt: Jan Fabre at the Louvre. Calf in formalin killed: Daniel Hirst's work sold at Sotheby's auction in London for 13 million euros. Six feet chrome dog, exhibited under the shadow of "Hercules" Francois Le Muan, court painter of Louis XIV: Jeff Koons at Versailles. Pork skins with tattoos that Wim Delvua sells in Beijing as works of art (along with the animal or without - at the buyer's choice) ... Bestiary 2008 demonstrates perfectly previously unsuspected ability to push the boundaries of contemporary art acceptable farther and delshe. Top of all: selling all the same Wim Delvua for 150000 euros tattooed human skin a German collector (this time - without an animal: to hang it on your wall, will have to wait for death onogo).

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Protests against the continuous and endless searching numerous provocations. Employees of museums cussing, but to speak officially they are not eligible. In private conversation, the French minister of culture Christine Albanel has recognized that the organization of exhibitions Fabre at the Louvre and Koons in Versailles meaningless.

Major collector Michel David-Weill for the first time agreed to comment on this evolution of tastes. This respected banker prefers not to talk about his generosity to the museum and about his love for vyokomu style and creativity to the postwar Picasso. A descendant of the dynasty aesthetes and metsenov, a member of the Academy of Arts and izobrazitelnyh Board of Management of the Metropolitan Museum in New York, he was twenty years is the president of the artistic council of the state museums of France. The greater its opposition to the pursuit of bringing the viewer in the horror that has become the main purpose of modern art.

Versailles and Kunst, Fabre at the Louvre, Hirst sale ... 2008 was rich in shock events.
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It seems that everything is not going beyond the acceptable limit is denied. We need only shock effect, which is achieved by any means. Damien Hirst sold directly, without intermediaries? So what? Rubens was doing the same thing. Let's talk about the Louvre. I usually do not trust the exploitation of horror. This is - no epidermal reaction, it is necessary for the formation of his own aesthetic vision, but now people have forgotten about this need and replace the aesthetic vision reflex, mixing two very different things.

But this is not new in art: look at all these late-Gothic Crucifixion and martyrdom ...

It is true, and I do not like this. I am deeply convinced that art, which plays on terror, appears in the stylistic periods of exhaustion. Look how impoverished the tastes of our time. Even in the gastronomy are increasingly resorting to some kind of unlikely combinations, add more spice to cause concern. Sitting in the modern world of violence, we have forgotten how to see. This impoverishment of taste and the constant need to push the boundaries of acceptable are characteristic signs of "end times" - Chariot racing is not enough, you need to give nepremenneo of Christians to be eaten by lions.

But art has always been based on emotions, such as those that the viewer felt before the image of the Virgin Mary with Child in the Renaissance ...

It's completely different things! There can not speak about the horror, on the contrary, the contemplation of Madonna provoked the viewer enlightenment.

For Koons too difficult to talk about the horror ...

True, but at the same time, an exhibition of his work at Versailles, staked on the sharpness of contrasts. This was a political statement - to provide modern products in the interiors, created by the old masters, as though not enough to read one page of history after another, it is imperative to gather all the pages together. Such an approach does not lead to the study, evaluation. He looks forward to shock the audience reaction.

So, there is a whole layer display of contemporary art, which should not be displayed?

There are museums of modern art, art centers, their role - to show this art. It is very important, but do not all mixed up.

But the museums themselves in favor of more "discovery in the world »...

They are already doing it, and with great success: the Louvre, Versailles and widely attended. Perhaps it would be better if they paid more attention to educating the public, explaining the works of art which they display, instead of being carried away by the creation of shocking contrasts. In my view, wrong to put a modern installation under a glass pyramid, because this is the first that reveal a visitor, and it is a completely erroneous view that he sees in the Louvre. This installation can be a wonderful piece of art, the question is not that. Frankly, this mix of genres does not enjoy success with the public. She imposed her some kind of elite, which thus responds to the impoverishment of taste, about which we spoke. This elite finds itself today, saying: "it is necessary to keep pace with his time." But to judge art, not a proven history, it is difficult, something we like, something is not, in general, we are not sure of their reaction. And the elite asserts: "It is necessary that everyone liked it!", Thus attempting to obtain a monopoly on modern art. By the way, is symptomatic that a mixture of eras and styles, these sharp contrasts are particularly widely used in France. Americans are much less need to mix old and new art, simply because they are always much more organic perceive contemporary art. Here, in France, the impression that what they are trying to catch up.

Many say that the show Le Bren and Rembrandt, along with Jeff Koons and Fabry - a "sacrilege", but Koons and Fabre suffer from this forced Neighborhood much more than Le Bren and Rembrandt. In this approach, and the old art, and modern, as it were deprived of their autonomous values, and I think most here are shocked that it degrades mixing contemporary art - if it can not skip away from the old art, so there is nothing and the show.

But is there a risk of devaluation of old art, relegated to the level so it seemed to "interim period", which led to the creation of modern masterpieces?

Yes, indeed, this risk is. All these popytkm "wake up" the taste of anesthetized lead to a denial of the value of the most important periods in the history of art. In the field of art the concept of progress is meaningless. After the fall of the Roman Empire regression art is incredible. And what is interesting: the people who praise the contemporary art, has always stressed his love for the primitive arts. But if art is in continuous progress, that primitive art should occupy the lowest level in the hierarchy, and the place of the Greco-Roman sculpture will not be much higher ... Beauty - not a historical concept, it exists by itself.



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Старый 21.03.2009, 20:46 Язык оригинала: Русский       #2
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We need only the shock effect, which is achieved by any means
Generally it is not clear how much more we will skip the "art in formalin. I think it has long tired of it.
I think we must admit that modern art is not only shocking installation.



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Старый 22.03.2009, 12:45 Язык оригинала: Русский       #3
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Thank LCR, - a very precise language. Particularly liked about the progress in the arts
And the changes, I suppose, should be expected no earlier than the return taste sensitivity.



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Старый 22.03.2009, 20:44 Язык оригинала: Русский       #4
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Bestiary in 2008 demonstrates perfectly previously unsuspected ability to push the boundaries of contemporary art acceptable farther and farther.
... Protests against this continuous and endless searching numerous provocations.
It seems that everything is not going beyond the acceptable limit is denied. We need only shock effect, which is achieved by any means.
... art which plays on terror, appears in the stylistic periods of exhaustion. Look how impoverished the tastes of our time. ... Sitting in the modern world of violence, we have forgotten how to see. This impoverishment of taste and the constant need to push the boundaries of acceptable are characteristic signs of "end times" - Chariot racing is not enough, it is imperative to give the Christians to be eaten by lions.[/SPOILER]
All is good, ladies and gentlemen, but dezhavyuku tight loop. Do you have the feeling that not only all modern art, but all reflection about the fragrance sekondhenda half a century - at least - years ago?
Since the filing of the news media has become an art - high art fucking brains of prepared art-objects - with a permanent demonstration consumed by Christians and pagans, "contemporary art" (and it is mainly the object activity) had a chronic outsider posture in relation to the media. Somewhere since the XX Congress of the CPSU is not in the art of run-model PR-technologies, and in the PR Art Technology is looking for a model and material. Shock potential of art - deep in the minus, everything from art-th left - is to use dildos and then his PR imaginary potentnosti. To believe in the reality of orgasm from these acts of art can really that persons with profound multiple sclerosis. Big dismal performance in contemporary art director there, all the actors only sufliruyut each other, and us, ladies and gentlemen, the internal logic of the process functions allocated virtual crowd, whose applause, whistling and stamping their feet do not hear to the scene.
All that we can now - is to play their little performances, nostalgic and gradually prepare the coming revolution of taste. Really, not too little. Hurray, comrades!



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Старый 22.03.2009, 20:58 Язык оригинала: Русский       #5
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- Good lay down, the dog - Ostap whispered in my ear
Hippolyte Matveyevich. - Learn.
(c)



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Старый 23.03.2009, 11:02 Язык оригинала: Русский       #6
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All these popytkm "wake up" the taste anesthetized lead to a denial of the value of the most important periods in the history of art. In the field of art the concept of progress is meaningless. After the fall of the Roman Empire regression art is incredible. And what is interesting: the people who praise the contemporary art, has always stressed his love for the primitive arts. But if art is in continuous progress, that primitive art should be at the lowest level in the hierarchy, and the place of the Greco-Roman sculpture will not be much higher ...
frankly, I'm not sure that these people are familiar with the forms of primitive art, though as with the history of art in general. Frankly, after the fall of the Roman Empire, the art of the century to 15-16 barely evolved, and then have soared after the opening of The Da Vinci oil painting - it gave the foundation for the transition possibilities of art to a new level .. but after Raphael, Mikellandzhelo, Titian and masters Flemish and Dutch school again for a few centuries the art of almost stood still and nothing revolutionary new until the middle of 19 th century virtually created ... the end of 19 and another 70-80 years of the twentieth century, ie almost century, was a fantastic leap in the development of art, it is not simply shifted to a new step, and ran a few sorties. In my opinion, such a revolutionary leap in general has never hitherto in the history of art was not. Now, it "goes flat and the rest after the rapid development and can be decades, century, several centuries may be stagnant on the results of the 20 th century, until a chance to reach the next level, which will be linked, I believe, to scientific progress and new technical possibilities. And yet still enjoy what is already established and not try to justify the contemporary art ...
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Старый 23.03.2009, 11:16 Язык оригинала: Русский       #7
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to be honest, I'm not sure that these people are familiar with the forms of primitive art, though as with the history of art in general. Frankly, after the fall of the Roman Empire, the art of the century to 15-16 barely evolved, and then have soared after the opening of The Da Vinci oil painting - it gave the foundation for the transition possibilities of art to a new level .. but after Raphael, Mikellandzhelo, Titian and masters Flemish and Dutch school again for a few centuries the art of almost stood still and nothing revolutionary new until the middle of 19 th century virtually created ... the end of 19 and another 70-80 years of the twentieth century, ie almost century, was a fantastic leap in the development of art, it is not simply shifted to a new step, and ran a few sorties.
Famously it is you have a shallow gesture all the Roman and Byzantine art, Gothic, Art of Islam, Giotto to Masaccio - I'm just delighted

As for oil, as if to say, it is not invented by Leonardo, and Van Eiki several centuries earlier, just at a time when "art developed barely" )))))

In general, the vision of the history of art you are also quite personal!



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Старый 23.03.2009, 11:23 Язык оригинала: Русский       #8
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vision of the history of art you are also quite personal!
And so what happens, "taught - and got it.



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Старый 23.03.2009, 11:39 Язык оригинала: Русский       #9
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Famously it you have a shallow gesture all the Roman and Byzantine art, Gothic, Art of Islam, Giotto to Masaccio - I'm just delighted

As for oil, as if to say, it is not invented by Leonardo, and Van Eiki several centuries earlier, just at a time when "art developed barely" )))))
so, stop! I do not rule. I highlighted the moments when art, in my opinion, the most actively developed and proshodilo something substantially new. Neither the Kojima case, I'm not saying that in the rest of the time nothing happened. The art has developed, but without the revolutionary leaps.
About the oil, I know that it was invented to da Vinci, but it was after his work, it was actively used by other artists. I had this in mind. If not, correct me, I shall be grateful.

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In general, the vision of the history of art you are also quite personal!
I would be glad to hear you correct me in that, what does not agree.
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Старый 23.03.2009, 11:47 Язык оригинала: Русский       #10
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Modern art, I think that art is not for anyone to go watch people not having any personal opinions, no vision, nothing. These are people repeating the same thing as others have done more eminent people, well, it looks like our platform, where any talented person, including accept Alla Pugachev, from which the rules can only vomiting. And then be on the same stage, where they sang and filled with great people and works to allow the same place, even after the time of such characters such as gum-club.



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