Exhibition in Amsterdam
In Stedelik - a museum in Amsterdam, one of the main art centres of Europe, new exhibition program Couplet started. Rudi Fuks - the present director of a museum - has decided to transform traditional museum practice of work with the modern art. The curator known for for artistic ambitions, made made a noise “ to the Document - 82 “ has refused habitual forms of a personal, retrospective or thematic exhibition. He has tried to connect among themselves history of art of the XX-th century and an actual art situation, having placed them in uniform exposition space. Products from a constant collection of a museum, and also other private and public meetings, are shown near to the works created for a current exhibition. Specially for the critic OLGA SVIBLOVA tells.
Protagonist Couplet I - the well-known representative Italian arte povera Mario Merts (Mario Merz). At an exhibition works of the oldest Austrian artist Maria Lassnig (Maria Lassnig), classics of the XX-th century of Marc Chagall, Kazimira Malevich, Pablo Picasso, the symbolist of the beginning of the century Giovanni Segantini (Giovanni Segantini), masters of post-war abstraction of Karelja Appelja (Karel Appel) and the Constant (Constant), the well-known Joseph Boyes (Joseph Beuys), Gilbert and George (Gilbert and George) are presented also, to Ljuchio of the Fountain (Lucio Fontana), recently died Donald Dzhadda (Donald Judd), masters of last “ a German wave “ Anton Hejbojera (Anton Heyboer), Anselm Kiefer (Anselm Kiefer), Markusa Ljupertsa (Markus Lupertz), Arnulfa Rejnera (Arnulf Rainer), designer Ettore Cotcacca (Ettore Sottsass), Pino Gallitsio (Pinot Gallizio), fashionable Dutch Berenda Strika (Berend Strik), and also political posters “ Around 1968 “. The list, to put it mildly, the impressive.
it is difficult to imagine any harmonous system which would allow to unite these absolutely various artists representing different styles and the countries. But organizers Couplet I also did not try to do it, as theorization in art circles today on in a favour. A series of formal signs is put in a basis of the exhibition concept biographic, and sometimes and simply casual character. The museum space assimilates to the big communal flat (yes use of a favourite metaphor of Ilya Kabakova which exhibition with tremendous success has passed in Stedelik - a museum in last season will say goodbye to me). Rooms of Mario Mertsa adjoin, for example, with “ a dwelling “ Pino Gallitsio. On - visible because both artists it come from one places. Besides, in expressional dense painting of Pino Gallitsio the oval forms favourite and Mertsem are often used. Still - both Italians connected purely human sympathies.
another the neighbour, Kazimir Malevich, has located directly in the middle of a suite of Mario Mertsa, - probably as the revolutionary who has broken art canons of the epoch and also because among the first it has bared a structural skeleton of a composition, has made its object of research and images. Iron skeletons of brilliant installations from glass and a stone of Mario Mertsa, as well as Malevich`s work, it is not simple “ skeletons for... “ but in itself - heroes of art action.
having destroyed traditional razvesku by a historical, author`s or stylistic principle, organizers of an exhibition have broken also division into the text (a current exhibition) and a context (a historical background), having created a certain essentially new space. So, in a drawing room of this huge “ communal flats “ Mario Merts meets Cezanne. According to the artist, “ This special enough situation is very interesting, because gives the chance to see relations, before history not shown “. “ Historians of art, - tells Merts, - could not and think that I can have an outer-space communication with Cezanne, and now it exists “.
For Couplet I where are presented as well early products of the artist from a collection of a museum, Mario Merts has created new installations. One of them - an enormous spiral table from iron, glass and a stone, a contour reminding a political card of Europe. Other work also beats the form of a spiral which, according to the author, most organically symbolises natural and historical development. The composition represents the bushes seated on bow-shaped lines - “ ambushes “ dividing space on various zones. It suggests an idea about cane thickets on a bog or arches of barricades. Between zones the artist builds the bridge - the touching rural bridge from struganyh boards. Merts says that for it this work - and a metaphor of exhibition Couplet, and demonstration of universal principles. “ the bridge, - the artist speaks, is a mysterious vision. Always there is a bridge which should be crossed... When you want to destroy, you burn bridges. Art is a grandiose meeting, the great bridge between people and different ` spaces of times ` “.
it is difficult to disagree With this statement of Mario Mertsa. It in the best way explains intentions of organizers Couplet I, the huge exposition occupying 35 halls. Conceiving this big “ party “ Rudi Fuks applying not only for a role of the historian of art, but also for a role of the director playing performance “ XX-th century Art “ was guided at a selection and moving of characters, possibly, romantic principle “ the sluchajnej, the more truly... “ . And here this statement is how much daring, it will be possible to judge upon termination of all program Couplet which provides on an exhibition in a quarter.