Art exhibitions to earn non-traditional spaces such as homes, farms – in fact – Estadão

In the dining hall in the kettle”s former lemon and placed on the plate of fig. Replace every week, runs the viewers eyes to the adjacent wall, where the yellow dot in the painting of Joan Miro adds a little bit more. Lit by an object from everyday life, information and Communications Technology ICT is one of the many works of art on site that will prove that the local environment of intimacy are the best places to appreciate the art.

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House in Cambridge, which belongs to the late Jim Ede former curator of the Tate Gallery and his wife, Helen, electric patio filled with works of art, Nicholson and Barbara Hepworth, Naum Gabo and Henry Moore, Constantin Brancusi and Elizabeth Vellacot. When Jim and Helen Ede gave the house its collection to the University of Cambridge, and ordered that everything is to be left without labels or plates: visitors welcome works of art as if it were a collage of home furniture, flowers and objects of decoration. The relationship between the viewer and the object would be very personal: visitors can be attracted to a glass sculpture of Gregorio Vardanega, while another would feel seduced by the plants in the vase contained in it.

The home area has expanded in recent times where the knowledge of the work of Antony Gormley is also seeking to emphasize the importance of design. Usually installed in outdoor spaces, the numbers in the rust-colored recognition to the artist explores the relationship between art and architecture in the land.

Metal in the kettle”s yard carries this “theme” of this show, as well as our bodies, his relationship with the sculptures in the galleries with the built spaces of the works themselves. “Above head height, Gormley install two steel rods through the main space of the exhibition. Casts its vertical walls, from some perspectives, the shadows give the illusion of glass walls. Visitors walk inquietamente during the exhibition, and not just looking at the statues of Gormley, but also the interaction with the space itself.

But although the work of Gormley, arrange their work in natural environments, fit the vision of Ede, this new rate does not fall greatly in the space. With concrete floors and white walls are empty, the lounge new electric patio reverse desire Edew that the site will be “a lively place where works of art can be appreciated… free from the austerity of the museums or art galleries, general.” Compared with the huge number of bronze Gormley, which is located on the margin of the river in Trinity College, or the hundreds of men of iron placed on the beach of Crosby in Liverpool in the new exhibition, his sculptures seem interesting and nothing exciting.

The attempt of the artist to subvert the space with iron bars and shadows just highlights your weaknesses.

The decision to open another “white cube” is not only wrong, but gave up. Isolated art goes out of fashion, this may be evidence of the attractiveness of your kettle”s yard. Led by Chatsworth House Historical Monuments of Great Britain have the advantage of combining expertise in the subject space. Paintings Damien Hirst recently abrilhantaram on the panelled walls of Houghton Hall, while Jenny Holzer design texts in the blocks of stone of Blenheim Palace.

Opera contemporary art maybe once they were allies, but in the recent partnership of the White Cube in Glyndebourne accepted without questions. These relationships are not only game marketing to double the potential audience. In the majestic environment of Houghton Hall, charity, sculpture, Hirst is almost seven feet, from the girl with the box of shocks, especially touch.

This trend is not limited to the elderly new positions in contemporary art, artists and the public are moving away each time more from the peace walls also. In 2014, Hause and wants to open a new space on a farm in Somerset is currently expões sculptures of Alexander Calder. Galleries dynamic like Cecilia Brunson projects, eleven Spitalfields, both in London, not only old houses, but the current path.

This return to a domestic environment suitable, since the art gallery was born in the House. Residence of Joaquín Sorolla in Madrid, and Sir John Soane, with a museum in London, contain this duplication, the heritage of the renaissance, with great success. Hans Ulrich Obrist, director of the gallery, says this exhibition held in the 1980s in your kitchen is still the standard work today. Especially the teacher who was the secretary of the year 1999 in the Soane Museum, where “there are no boards-textbooks or guides, photos and visitors that walked They through the rooms, to the works of art of the unexpected in unexpected places also.”

As was observed by Obrist, there is a possibility of infection in this most intimate of spaces. Room Spartan and security as a lookout takes the visitor also feel that the shows; it’s like having a lively conversation in the restaurant, very luminous when the waiter driver prowling behind you. Removed from the sacred art exhibition generates more lasting impression: the look along with other things, family structures, works of art do not leave behind the door of the temple, but moved by the imagination in our daily lives. Later, if life gives you lemons, the visitor may recall the mirror. Translation/ of Maria Martini

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