Maria Lassnig in Stedelijk

Gepubliceerd op: 22 May 2019

Een blauw oog – priemende pupil, donkere rand om de iris – volgt iedereen die de tentoonstelling ‘Maria Lassnig, Ways of Being’ bezoekt. Soms als dat van een cycloop, alleen in een portret van opzij, of drijvend in het centrum van een bijna abstract gezicht. Dat blauwe oog zit je op de hielen. Van zaal naar zaal, door de jaren van Lassnigs kunstenaarsbestaan. Dat blauwe oog is onze gids. En tegelijkertijd bezweert de kunstenaar ons met haar onontkoombare blik. 

Machteld LEIJ 

Praktische Info

Maria Lassnig ‘Ways of Being’ tot 11 augustus in Stedelijk Museum, Museumplein 10, Amsterdam, NL. Open ma-zo van 10-17 u., vr tot 22 u. www.stedelijk.nl  

Keywords

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Een blauw oog – priemende pupil, donkere rand om de iris – volgt iedereen die de tentoonstelling ‘Maria Lassnig, Ways of Being’ bezoekt. Soms als dat van een cycloop, alleen in een portret van opzij, of drijvend in het centrum van een bijna abstract gezicht. Dat blauwe oog zit je op de hielen. Van zaal naar zaal, door de jaren van Lassnigs kunstenaarsbestaan. Dat blauwe oog is onze gids. En tegelijkertijd bezweert de kunstenaar ons met haar onontkoombare blik. 

Machteld LEIJ 

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Maria Lassnig ‘Ways of Being’ tot 11 augustus in Stedelijk Museum, Museumplein 10, Amsterdam, NL. Open ma-zo van 10-17 u., vr tot 22 u. www.stedelijk.nl  

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‘Yes, the empire is sick, and, what is worse, it is trying to become accustomed to its sores. This is the aim of my explorations: examining the traces of happiness still to be glimpsed, I gauge its short supply. If you want to know how much darkness there is around you, you must sharpen your eyes, peering at the faint lights in the distance.’ 

Italo Calvino, ‘Le città invisibili’ (1972) 

Ik ben een simpele jongen. Zeker, ik geniet bepaalde privileges, al weet ik soms niet goed wat ermee te doen. Materialistisch ben ik hoogstens in filosofische zin, en dat zie ik als een intellectuele troostprijs. Ik wil zeggen, ik ben op weinig materieels gesteld. Getallen met meer dan drie nullen zie ik meestal niet op mijn rekening, en dat is met dank aan de Belgische belastingen. Vergeetachtig ben ik, dat ook. Gelukkig heb ik zorgzame vrienden in Venetië, waardoor mijn paraplu zich intussen in Berlijn bevindt, mijn boek in Rotterdam en mijn sjaal in Wenen. Maar goed, ter zake: ik ben een simpele jongen, zoals ik al zei. Ik kijk daarom telkens weer met grote ogen naar de privéclubs, luxejachten en cruiseschepen in de Dogenstad, en naar de haastige doortocht van de mondiale jetset voor de tweejaarlijkse hoogmis van de hedendaagse kunst. Ook na vijf edities blijf ik het een merkwaardig sociologisch tafereel vinden.  

Pieter VERMEULEN

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www.labiennale.org

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Fondation Cartier in Parijs waagt zich aan een beknopt overzicht van jonge Europese sleutelkunstenaars. Er is niet gekozen voor verschillende unieke posities, maar de voorkeur gaat uit naar enigszins archaïsche kunst die gevoed wordt door geschiedenis, rituelen, sagen en mythen en waarbij een belangrijke plek is weggelegd voor het ambacht of handwerk. Met name de bijdragen van de (mode)ontwerpers vormen een aangename dissonant. 

Nanda JANSSEN 

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‘Jeunes artistes en Europe, les métamorphoses’, tot 16 juni in Fondation Cartier, 261, Boulevard Raspail, Parijs, FR. Open di-zo van 11-20 u., di tot 22 u. www.fondationcartier.com

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