Art Basel has just closed its doors. Exit therefore believed 2011. The grand ceremony of contemporary art will reappear in June. It will contain the same major art galleries, those that contribute to maintain the rating of recognized artists and others, younger, often from what is called the art scene of the so-called emerging countries. In recent years, the trading center of these products are very popular as the works of art has shifted to Asia. The Chinese are now very active and this 42nd edition of the Fair hosted a few galleries in the Middle East.
The application of the art market is not sufficient to generate undeniable talent. Contemporary art exhibited here often tends to repeat, repeat, and seem to seek. Notable in this regard, the ubiquity of "Pollock" that is reappearing here and there in the fair: the form of a facility, including a scale model replica of a model or dripping (Robert Kusmirowski, Variations on a Theme of Jackson Pollock, 2011) or even under the species of Blue Poles to expect on a stand. The original, we know, is in Australia, in Canberra. The one here proposed, exhibited, offered is a replica ("It's not a Pollock"), mechanical and well oiled. "Perfect." Too perfect. The most contemporary art will be well managed to transform some of the works of one of the major painters of the twentieth century "crusts" that can adorn your dining room, office or the lobby of the headquarters of your company.
Beside so sure values (the Picasso, Bacon, Tapies, Miro, Rauschenberg and Louise Bourgeois ...) and now confirmed artists (such as Anish Kapoor, as everywhere in this show are currently on the international scene) or artists (such as Marlene Dumas) confirm their importance, the young art scene is a frequent in the glitz and kitsch. The materials are intended to be spectacular. Bright colors. Polished surfaces. Beads. Mirrors. Reflective materials. Brilliant textures. Navigating in the world of reflections and the "bling-bling." This art needs to SHINE.
Some international aesthetic and decorative, very strong by design, is thus established, which is probably as advice to new managers as the tastes of art, folklore and certain « habitus » cultural newcomers. Contemporary Chinese culture (which appreciates above all the bright colors, shiny reflections) it would require little by little his trademark ? And here it must be said, too many Kitsch kills Kitsch. In some stands, there is often only one desire, that of taking his legs to his neck ... to escape the noisy exhibition of objects, reflections, to find - not far from tram - the austere purity of the steel plates of Richard Serra, minimalism and a Brancusi's endless column timeless (Fondation Beyeler). - We will come back.
In this Fair, and the turning lanes, I liked a lot, passionately, madly : the blue of the installation of James Turrell (Joecar Blue, 1968), so enhanced by the shadows of the visitors, the heart sewing machine, by Louise Bourgeois (red and pink between the rolls of blue yarn and sew for the darning, Heart, 2004), the white structures, air and skeletal (made of letters as suspended in space) by Jaume Plensa, the effectiveness of cosmetic slogans of Barbara Kruger (I Thought You Were Someone Else, 2008), the plump white marble and a small figurine of Botero (1932), cracks, holes, tears and burns by Fontana, Millares, Burri... And again, a jumping jack of Sophie Taeuber-Arp (1918), « La Fontaine Butterfly », Rebecca Horn (2011): a blue liquid flows from a funnel, the butterfly's wings began to vibrate. Or the film, this beautiful film - framed, framed so constantly - Lewis Baltz (Candlestick Point, 1984-1988). Or - but how not to end! - the installation-sided row of Dan Flavin : the neon colored tubes radiate a light that turns gradually progresses to the visitor. The overall vision gives way to close. And then everything changes. See you in another sensory register. Touch. Terribly touch.
* Florence de Mèredieu, Histoire matérielle et immatérielle de l'art moderne et contemporain, Larousse, 2008.
The application of the art market is not sufficient to generate undeniable talent. Contemporary art exhibited here often tends to repeat, repeat, and seem to seek. Notable in this regard, the ubiquity of "Pollock" that is reappearing here and there in the fair: the form of a facility, including a scale model replica of a model or dripping (Robert Kusmirowski, Variations on a Theme of Jackson Pollock, 2011) or even under the species of Blue Poles to expect on a stand. The original, we know, is in Australia, in Canberra. The one here proposed, exhibited, offered is a replica ("It's not a Pollock"), mechanical and well oiled. "Perfect." Too perfect. The most contemporary art will be well managed to transform some of the works of one of the major painters of the twentieth century "crusts" that can adorn your dining room, office or the lobby of the headquarters of your company.
Beside so sure values (the Picasso, Bacon, Tapies, Miro, Rauschenberg and Louise Bourgeois ...) and now confirmed artists (such as Anish Kapoor, as everywhere in this show are currently on the international scene) or artists (such as Marlene Dumas) confirm their importance, the young art scene is a frequent in the glitz and kitsch. The materials are intended to be spectacular. Bright colors. Polished surfaces. Beads. Mirrors. Reflective materials. Brilliant textures. Navigating in the world of reflections and the "bling-bling." This art needs to SHINE.
Some international aesthetic and decorative, very strong by design, is thus established, which is probably as advice to new managers as the tastes of art, folklore and certain « habitus » cultural newcomers. Contemporary Chinese culture (which appreciates above all the bright colors, shiny reflections) it would require little by little his trademark ? And here it must be said, too many Kitsch kills Kitsch. In some stands, there is often only one desire, that of taking his legs to his neck ... to escape the noisy exhibition of objects, reflections, to find - not far from tram - the austere purity of the steel plates of Richard Serra, minimalism and a Brancusi's endless column timeless (Fondation Beyeler). - We will come back.
In this Fair, and the turning lanes, I liked a lot, passionately, madly : the blue of the installation of James Turrell (Joecar Blue, 1968), so enhanced by the shadows of the visitors, the heart sewing machine, by Louise Bourgeois (red and pink between the rolls of blue yarn and sew for the darning, Heart, 2004), the white structures, air and skeletal (made of letters as suspended in space) by Jaume Plensa, the effectiveness of cosmetic slogans of Barbara Kruger (I Thought You Were Someone Else, 2008), the plump white marble and a small figurine of Botero (1932), cracks, holes, tears and burns by Fontana, Millares, Burri... And again, a jumping jack of Sophie Taeuber-Arp (1918), « La Fontaine Butterfly », Rebecca Horn (2011): a blue liquid flows from a funnel, the butterfly's wings began to vibrate. Or the film, this beautiful film - framed, framed so constantly - Lewis Baltz (Candlestick Point, 1984-1988). Or - but how not to end! - the installation-sided row of Dan Flavin : the neon colored tubes radiate a light that turns gradually progresses to the visitor. The overall vision gives way to close. And then everything changes. See you in another sensory register. Touch. Terribly touch.
* Florence de Mèredieu, Histoire matérielle et immatérielle de l'art moderne et contemporain, Larousse, 2008.
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