Tactics of a spiderthe Last quarter of the century 95 - summer Luiz Burzhua concerns favourites international art - the market. Of success of the largest retrospective show of works well-known skulptorshi observed in Vienna specially for ALEXEY - MOKROUSOV.
Luiz Burzhua`s exhibition in Viennese Kunsthalle passes in one building with a megaexhibition “ Superstars “ (wrote about it on December, 19th, 2005). 95 - the summer artist could appear easily and a floor above, among Picasso and Andy Warhol - it is not so much from - for affinity it on age, how many from - for affinity in the sizes of glory. Half a century ago it to the full recognised professionals, and last 20 years creativity of the American artist of the French origin became a symbol of all fashionable in the opinion of wide spectator weights. Was late? Certainly. The first American retrospective show has passed, when to the author was already 71 (but at once in MOMA - the Museum of Modern Art in New York), the first exhibition in Europe - and at all in 1989 - m. In ten years of the Bourgeois already have handed over “ the Gold lion “ Venetian biennial, other awards have tumbled down an avalanche.
this success is not in the last instance connected with a choice of true strategy. The bourgeois does recognised products with repeating plots, supports correct ideas and tells about itself fascinating things. In the rest a number of favourite motives turns out, first of all spiders whom she models and draws all sizes and kinds, support of feminism in art and life, and also psychoanalysis of own destiny and the creativity to be engaged which it is ready publicly. All it is pressed in its sculptures and drawings. The same spiders - a symbol not ugliness and tearing away as others can think the grumbler, but on the contrary, the sample of diligence and family ideals, stability and abilities to finish the begun.
Luiz Burzhua`s bourgeois spiders has opened London Tate Modern. In the same place in 2007 there will pass also a fundamental retrospective show of the artist, where big, than the present Viennese. But in this case the size has no value. In it benefit of spidery work also consists: to make out only a web part enough to understand, how the whole is made.
the bourgeois has grown in a family of industrialists - weavers, and its childhood as the Soviet biographer would write, has passed under knock of weaver`s cars. Thus the father consisted in connection with the nurse small Louises and especially did not aspire to hide these relations. Mum suffered from it, and the girl on all life has found a complex concerning parents (having accepted, certainly, the party of a suffering half). With these complexes she also struggles by means of Freud, feminism and own creativity developing on a spiral. So if you saw the Bourgeois half a century ago can study only shades, instead of essentially new courses.
the present retrospective show including 150 products, is called “ Aller - Retour “ “ There and back “ also it is devoted basically to the latest works of the artist, sculptures both single drawings and series, like well-known “ My left hand “ to author`s books and simply outline albums. In special section drawings 1940 - 1950 - h are taken out years. In places quite still realistic and almost student`s, they nevertheless are often crossed with drawings 90 - h years and that are dated already XXI-st century. The only thing that has not got to halls, so this creativity of a prewartime. Till 1938 of the Bourgeois Lota studied in many Parisian studio, including at Fernana Lezhe and Anri, and then has emigrated to America where has approached with emigrants - surrealists and around nju - jorkskoj schools of an abstract expressionism. But itself ekspressionistkoj did not become, as always remained too individualistichnoj and emotional in the like abstract works.
Figurativnost, however, never left its art world - and in it one of secrets of late triumph of the Bourgeois is covered. It concerns those artists who does not aspire to run behind a fashion, but waits, when the fashion itself will catch up with them. Here it also has caught up while many have started to be tired of minimalism, but the combination abstract and figurative has appeared for all quite comprehensible. Participation of the Bourgeois in a legendary exhibition " became recognition instant; Essentric Abstraction “ passed in 1966 in New York. Since then feminists have made the Bourgeois the banner. The most well-known photograph of the artist executed in 1982 by Robert Meppltorpom, represents it with huge man`s genitals (not a model, and sculpture product). Their sizes are remarkably combined with a smile and wrinkles on the face of the artist.
now the Bourgeois began to be tired of monotonous treatments of the art. Last years it even more often opposes a feministic sight at the works, asserting that their unique maintenance is the form. Here and the present retrospective show made by the author, looks faster as laboratory. An overwhelming part shown - drawings, a genre, according to the Bourgeois, extremely thoughtless and unessential. Even the word in a notebook and the more so a diary possesses bolshej compulsion and weightiness degree, rather than a sketch or the independent life of a line arising from unconscious movement of a hand. But from these unessential sketches also arise - time of decade later - the sculptures of the Bourgeois so deeply getting in unconscious. Even if neither the spectator, nor the author with this penetration do not agree.