Tentoonstelling ‘Art en Guerre’ in Guggenheim in Bilbao

Gepubliceerd op: 6 June 2013

‘Creëren is zich verzetten.' Picasso zou het ooit gezegd hebben. Tijdens de tweede wereldoorlog is hij - de staatloze - van weeromstuit frenetiek blijven kunstwerken produceren. Weliswaar in (iets) betere omstandigheden dan de talloze artiesten die in interneringskampen, in psychiatrische instellingen, of in schuilhokken met wat ze in handen kregen artefacten maakten. 70 jaar geleden voerden kunstenaars oorlog tegen de oorlog en zetten ze politieke dictaturen een neus. Kunstenaars verwierpen de propaganda van een opgedrongen, conformerend keurslijf. De verbluffende creatieve wilskracht van toen spat uit de 500 opgedolven kunstwerken van een honderdtal bekende en vooral minder bekende artiesten.

Praktische Info

www.guggenheim-bilbao.es

Keywords

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‘Creëren is zich verzetten.' Picasso zou het ooit gezegd hebben. Tijdens de tweede wereldoorlog is hij - de staatloze - van weeromstuit frenetiek blijven kunstwerken produceren. Weliswaar in (iets) betere omstandigheden dan de talloze artiesten die in interneringskampen, in psychiatrische instellingen, of in schuilhokken met wat ze in handen kregen artefacten maakten. 70 jaar geleden voerden kunstenaars oorlog tegen de oorlog en zetten ze politieke dictaturen een neus. Kunstenaars verwierpen de propaganda van een opgedrongen, conformerend keurslijf. De verbluffende creatieve wilskracht van toen spat uit de 500 opgedolven kunstwerken van een honderdtal bekende en vooral minder bekende artiesten.

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www.guggenheim-bilbao.es

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Een tentoonstelling over abstractie in de actuele kunst verzandt vrij snel in een raadselspelletje, in een feestje voor ingewijden, waar je niet meer krijgt aangereikt dan de prikkelend bedoelde, maar gemakzuchtige uitnodiging om je eigen verbeelding maar aan het werk te zetten. Genoeg valkuilen dus. Maar de expositie ‘Abstract Myths’ in de expositieruimte Nest in Den Haag, vermijdt ze trefzeker, met een naar vanzelfsprekendheid riekende soepelheid.

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www.nestruimte.nl

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Dès l'entrée de l'exposition, nous sommes prévenus: c'est de la peinture figurative, autoportrait d'une artiste au XXème siècle. Si l'on s'attache au tableau ‘Working at Home', Sylvia Sleigh est au premier plan, un homme (son mari, le critique Lawrence Alloway?) est au second plan au bureau... Deux, trois choses retiennent notre attention, d'abord elle est en chemise et l'on sait que pour les peintres la chemise est l'un des premiers arguments par ses plis, ses motifs. Je pense également qu'il s'agit d'une chemise masculine et il y a là le signe d'une femme qui ne s'en laissera pas conter! Finalement dans un univers où les hommes sont les artistes et veulent bien des femmes comme commissaire ou comme critique, c'est une belle et prometteuse inversion des rôles.

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