Your world might change in an instant if you look at it in a different light. Continue reading “De Magnete by Jon Gorospe”
Can you create new art using somebody else’s art?
Marina Abramovich is in Firenze. She has taken possession of Palazzo Strozzi for no less than four months, with the exhibition ‘The Cleaner’. I liked the exhibition because it gave me a glimpse into who Abramovich is and what has informed her art. I dislike Marina Abramovich because of her insistence on imposing her personal problems on the rest of us by use of art, a desire that the exhibition makes blatantly clear.
The first thing I heard when I entered the Palazzo delle Esposizioni for the inauguration of the exhibition Sergio Ceccotti. Il Romanzo della Pittura 1958-2018, was the noise. The humming choir of too many people that are crammed into a room to look at paintings, while they talk about the art, the artist, or both. I was tired that evening and was tempted to turn around and leave but decided to affront the crowd instead. I am so very glad I did.
Why do we go to vernissages? I thought as I observed the crowd at the Zeitwille opening. It was a typical vernissage crowd. Well dressed, less well dressed, old and young (more young this time around, though) and the occasional journalist taking notes in front of the pictures. But in general, apart from the journalists who are obviously there for work, what are people’s reasons for going to vernissages? Because they know the artist or are friends with the artist’s parents? To see and be seen? Because they happened to pass by? Did they come for the free drinks perhaps? Or because they are genuinely interested in art?
This is the English version of a post written for Galleria28PdP. You can find the original Italian version here
This blogpost, as opposed to contemporary, modern or street art, is about classic art. It is a bit frightening to sit down to write about masterpieces that have been studied and re-studied and deciphered to the very last particle by generations of art experts. For what can I say about Van Gogh that hasn’t already been said? What words could I possibly come up with to describe Tintoretto that haven’t already been used? To make matters worse, or more challenging at least, what I am about to write about, is arguably the most famous artwork in the world: The Sistine Chapel.
I recently spent a few days in Tunisia doing research for an article I was writing about political developments in North-African country. I lived in Tunis some years back, and this was the first time I’d been back after moving away.
Tunisia, for those who don’t know, has been through almost a decade of political upheaval, transiting from an authoritarian regime overthrown in revolution, to a democratic system that still needs to consolidate itself. When I went back there now, it was because there are signs that the transition process has stalled, and that Tunisia’s new-born democracy is having difficulties. Most of what I found can be read elsewhere but there’s one issue that I’d like to explore here and that is the effect the political changes have had on Tunisia’s exceptional art scene.
Can National Art Museums be judged only by the quality of their art? I didn’t quite know what to expect as I entered the Mongolian National Museum of Modern Art or MNNMA, hidden in a Soviet style building behind the cultural palace on Ulaanbaatar’s massive Sukhbaatar square (or Chinngis Khan square, as it is also known as). The museum houses more or less what the nomadic nation can boast of modern art, which, I soon discovered, is somewhat limited.