Tags: art, exhibit, paris, pompidou, traces du sacre
Looking over my reviews of the last few exhibits I’ve been to, I see a theme emerge. What I’ve really been into, recently, is art that embraces the anti-rational, the emotional, the transcendent — nothing too cerebral or easily defined. So it’s no big surprise that I fell wholly in love with Traces du Sacré, the big exhibit currently at Beaubourg.
How much did I love it? All told, I spent about seven hours there, spread out over three visits, and if I hadn’t been leaving town, I probably would have gone back again.
The purpose of Traces du Sacré is to assemble works by artists engaged in a search for something beyond mundane, material existence. Over the long history of art, artists have often been charged with representing spiritual themes; in the past, this generally meant producing overtly religious works, but in the 20th century, when organized, mainstream religion lost its sway over artists and intellectuals, people didn’t give up on the idea of the sacred entirely — they just found new ways to explore the basic human urge toward transcendence.
The exhibit is organized thematically, with a focus on the different approaches artists of various kinds took toward the problem. There’s a section on psychedelia, complete with day-glo swirlies under ultra-violet light, and a section on Freudian psychology — another non-religious way of examining the invisible landscape of the psyche. One of my favorite rooms emphasized the new occult/religious movements that grew up around the turn of the last century in an attempt to reinvent faith without the baggage of archaic religious institutions. It was surprising how many artists — Mondrian, Duchamp — dabbled in new age ideology before settling into their better known incarnations.
It’s a huge exhibit with some 350 works in various different media. Some were goofy or hadn’t aged well — Thelemites wandering around Egypt to a soundtrack by Jimmy Page, for example — but others, like Rothko, Francis Bacon, or a film clip by F.W. Murnau impressed with their ability to capture the resonance of the sublime and the supernatural within a secular framework.
Tags: exhibit, Gregor Schneider, Maison Rouge, museum, scary
Okay, that was terrifying.
I just got back from the Gregor Schneider exhibit at the Maison Rouge, and let me just say: scariest museum visit ever. Kind of like a cross between a nightmare and a graphic adventure game. Seriously, as exciting and awesome as it was, I’m not sure I can recommend in good conscience that anyone follow in my footsteps. Particularly not if you are remotely claustrophobic, or afraid of the dark, or anything like that.
If you do want to go and have the full experience yourself, don’t read any further, since I’m going to describe it in a fair amount of detail.
Tags: art, contemporary, documentary, exhibit, masculinity, museum, paris
Last week I headed over to the Musee d’art Moderne de la Ville de Paris (and yes, that’s the longest museum name *ever*) to see Clarisse Hahn’s “Boyzone”. Really, with a title like that, how was I to resist? Here’s the description:
This series of videos is a study of the male body, sometimes isolated but more often in groups: squatters drinking beer with their shirts off, teenagers training in martial-arts in a public garden, boyscouts, bodybuilders, a dog-handler training his dog…
Stereotypes are questioned here: how much are we susceptible to them? Boyzone questions the rapport of the individual to the group: how does one become integrated in it? To what extent do we model our behaviour on that of the group we belong to? What signs of our belonging to this group do we exhibit?
I’m always fascinated by the examination of cultural constructions of masculinity, so I was pretty excited about this, but I’m sorry to say the exhibit itself was a bit of a disappointment, and I suspect the biggest problems were due to the curator, rather than the artist. True, it’s hard to build an art exhibit around video and still have it be visually and spatially engaging. But did they have to scatter the tv sets in such an irritatingly random manner? Some were on the floor, some were on pillars, and one tiny set was perched way up by the ceiling, where it was pretty much unwatchable. Also, each of the video pieces had sound, but instead of having headphones, each tv was set at a frustratingly low volume, so you could hear it only if you listened really intently and ignored the cacophonous noises coming from all the other tvs.
I was also somewhat annoyed by the artist’s decision to include so many “isolated” male bodies, which didn’t seem to contribute much to her thesis. Especially since these supposedly isolated males were not actually alone, but obviously interacting with the artist behind the camera — who is female. If the piece is supposed to be about how men act around other men, how useful is it to see them interacting with a female documentarian?
Despite these flaws, there was still a lot of interesting commentary on/documentary depiction of masculine behavior. The artist’s choice to use very short, highly edited clips with low sound helped to frame and highlight the physical interactions of men in groups — how the soccer players playfully slapped at each other, the squatters nodded obliquely, or the teenagers wrestled and spit… Even the video of a group of men and boys slaughtering a goat was illuminating, if a bit gross.
Clarisse Hahn — Boyzone
Musee d’Art moderne de la Ville de Paris
Ends April 6 — free
Tags: art, exhibit, fashion, lacroix, musee de la mode, museum, paris
I have neither the time nor the energy to blog seriously right now, but I wanted to tell anyone who thinks they might have even the remotest interest to see the Lacroix show at the Musée de la Mode. The gowns on display are truly gorgeous — although only a few of them are by Lacroix, the rest were selected by Lacroix from the museum’s extensive permanent collection to illustrate his favorite tropes and techniques in the history of fashion.
Of course, everything is stunning, but what really impressed me was the curating. It seems as though the museum basically gave Lacroix carte blanche to play with their collection, and it was surprising to me how intelligent and considered his choices and remarks were. Not all artists can talk about art as well as make it.
There was no photography allowed, but do take the time to check out this slide show of pieces from the exhibit — it should give you some idea of the pieces on display.