Tuesday , August 9 2022

In Vienna: Wes Anderson and the Art Maj two


"The Mummy Spitzmaus in the coffin and other treasures from the Kunsthistorisches Museum" is a unique title for the exhibition. So again, this is not a normal show.

Opened on 6 November 2018, the magnificent Kunsthistorisches Museum in Vienna, where one of the world's leading collections, includes 400 selected items from 14 collections of more than 4 million objects. Dating back to 5,000 years in ancient Egypt, was chosen by American director Wes Anderson and his partner, writer and illustrator Jane Manof.

Aesthetics Free: Twee

Known for producing exceptional films with complex plots, Anderson has won cult status cultivating a very stylish aesthetics – one of which fans almost instantly recognize. Although Anderson himself said his films are the product of joint efforts with others on each project – "You can not end up with the same thing if you change those names and keep mine" – there's a common thread tying Anderson's movies together: Look.

Hotel Grand Budapest (photo-alliance / dpa / 20th Century Fox / M Scali)

Colorful, nostalgic, original: Anderson claims to have no unique aesthetics, but his art is easily recognizable

While some critics have referred to the aesthetics of Anderson's work indecently, writing it as "Twi", writer Mark Spitz finds Anderson and the idea of ​​cultivating a good thing in contemporary society.

Writing in 2012, shortly after Anderson's film Royal Tenenbaum , Spitz said that the Twist "were souls with an awareness almost incapable of darkness, death and cruelty, who made the personal choice to focus on goodness and sweetness, they maintained contact with childhood and innocence and connection to maturity required by political and social activists."

This aesthetic – and the thread that combines the end of childhood with the political and social activism of adulthood – comes through the treasures of Anderson and Maloff. Like a certain nostalgia, a backward look at the dynasties of previous periods.

Treasure by trial and error

From the Vase of the Qing Dynasty to the Trumpet belonging to the Austrian courtroom to an Indonesian actor's party, the assortment of objects has been cut over hundreds of years, medium and rare. The choice is a compendium of objects connected to each other in a way that only Anderson and Malf can create.

Instead of displaying the objects according to the age or separating them according to the collection, the artists chose unusual locations – and hung a picture of seven-year-old Ploner (Emperor Charles) alongside one of the owners of the four-year-old dog (Emperor Ferdinand II). Anderson explains the process of their selection in the accompanying catalog as such, "We do the delicate quest that the unconventional groups and arrangements of the works presented may affect the study of art and antiquity in easy, even trivial, but yet recognizable ways for many future generations to come."

"True: one of the senior curators of the Kunsthistorist Museum (the educated, of course, at the University of Heidelberg) has not been able to locate some of the more conspicuous connections, and even after we have set most of them still questioning their curatorial validity, one can argue in all cases but if our experiment fails At these levels, we are confident that it will at least serve the purpose of negating certain hypotheses, thereby advancing the ways of art history through the scientific process of trial and error (in this case, error). "

Pencil drawings of two nude statues (from Malouf)

Malouf, author and illustrator, created drawings of several of the displays

Inspired by Warhol

One of the museum's treasures, Sharp, worked closely with the curators, allowing them freedom during the selection process. "Their approach was controlled from the beginning by intuition and excitement," Sharp writes in the exhibition catalog.

Referring to the historical significance of the museum's galleries in which the objects are displayed, he writes: "It seems entirely appropriate that the exhibition is presented in the rooms of the Constkamer, where we can first find the earliest strategies of display, systems of order and organization, and the game of object relations."

The idea of ​​the guest curator, he goes on to say, was not his, but inspired by Andy Warhol's work on three museums between 1969 and 1970, Which brought the exhibition "Raid the Ice I with Andy Warhol."

And Dominique de Manil, commissioned by Jean and Dominique de Manil to draw from collections of the Rhode Island School of Design, selected items from the museum store as an experiment that responded to De Manil's questions: "What if some important contemporary artist chooses If the artist who chose the materials was strong enough, would he impose his personality on the objects? He was famous enough, would not that make the curious look? "

Warhol's responses, both in his choice and in his methods of presentation, were "provocative and unconventional, attacking the principles of wine and establishing institutional criteria for examining the relative value of objects."

While Warhol's responses continued to energize museum directors even today, the questions are re-presented with each guest curator.

Whether the universe of Wes Anderson and Mann Malof will require the curious to be seen in the number of visitors to the Viennese Museum to see the exhibition, which will pass to Prada and Pondaizon Milan in October 2019.

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