CEO-ul a făcut o decizie interesantă săptămâna asta când ne-a zis că avem la dispoziţie nişte invitaţii pentru vernisajul unei colecţii de picturi aparţinând lui Magritte la TATE în Liverpool.
Criteriul de selecţie: care sunt cei mai aiuriţi oameni pe care îi putem trimite să scrie despre eveniment şi despre Magritte? M-a găsit pe mine şi pe încă un coleg care e la fel de dus cu pluta (sau are un simţ al umorului la fel de acid şi sarcastic). Experienţa mea include scăpat tăvi cu sandvişuri şi pătat tricoul în decursul a cinci minute de când am intrat pe uşa agenţiei. Am descoperit că aparent sunt „mean in a funny way” şi că decât să scrie altcineva o recenzie stufoasă şi plictisitoare despre un surealist care nu vroia să fie considerat surealist, mai bine să trimitem doi nebuni şi să vedem ce iese. Planurile mele la începutul săptămânii nu aveau incluse o excursie până în Liverpool la ora nouă seara – nu e genul de oraş în care ai vrea să fii pe străzi pe la nouă seara dar cel puţin zilele astea e lumină, zilele sunt foarte lungi şi putem să ne bucurăm de frig, ploaie şi vânt până mult mai târziu în noapte.
M-am apucat să citesc despre Magritte şi acum nu pot decât să aştept cu interes să văd despre ce e vorba pe viu. Am descoperit că o să aibă picturi din perioada în care s-a întors în Belgia de la Paris în urma crahului de pe Wall Street (Perioada ‘Vaches’) iar Guardian pare să aibă numai cuvinte de laudă:
The Vache paintings erupt from Magritte’s oeuvre, as they do from Tate Liverpool’s exhibition, like a fart in church.
In 1948, Magritte made a group of paintings and gouaches distinctly different from the rest of his work for his first solo exhibition in Paris. Relying on a new, fast and aggressive style of painting – and particularly inspired by popular sources such as caricatures and comics, but also interspersing his works with stylistic quotations from artists like James Ensor or Henri Matisse – Magritte, within only a few weeks, produced about thirty entirely uncharacteristic works that caused an outrage in Paris. The artist deliberately conceived the exhibition as a provocation of and an assault on the Parisian public. Painting in an unexpectedly crude, playful, and intentionally „bad” manner, he reflected his own work and painting in general.
He has, instead, tapped into his own unique vision in order to bring through the discreet poetry that exists in our everyday lives and to which we are all too often oblivious. It is for this reason that he shunned so many of the terms that were applied so freely to his painting not least ‘Surreal’. ‘I must inform you however that words such as unreal, unreality, imaginary, seem unsuited to a discussion of my painting,’ he explained.
‘I am not in the least curious about the ‘imaginary,’ nor about the ‘unreal’. For me, it’s not a matter of painting ‘reality’ as though it were readily accessible to me and to others, but of depicting the most ordinary reality in such a way that this immediate reality loses its tame or terrifying character and finally presents itself with its mystery. Understood in this way, that reality has nothing ‘unreal’ or ‘imaginary’ about it’ (Magritte, quoted in H. Torczyner, Magritte: Ideas and Images, trans. R. Miller, New York, 1977, p. 70).
Christies #1The Belgian artist equally played with hidden objects and a sense of the unknown, but he refutes the idea of absolute truth by making the instrument of concealment a depiction of precisely what it hides. In one of his best-known quotes, Magritte addresses this issue, stating: „My painting is visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question ‘What does that mean’? It does not mean anything, because mystery means nothing either, it is unknowable” (quoted in ibid., p.70).Christies #2
Comentarii
Un răspuns la „În excursie către TATE Liverpool”
Spune-mi te rog, de ce Liverpool are o imagine asa de proasta in UK ? Nu e prima data cand aud de asa ceva, si nu am inteles de ce.
Safe trip, btw!