BERLINDE DE BRUYCKERE (1964-) nascida em Ghent na Bélgica
«Hanne » 2003, sculturewax, epoxy resin, horse hair
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RICHARD WATHEN (1971-) nascido em Londres na Inglaterra
Rose 2006, oil on linen
«Aubrey» 2007, oil on linen on aluminium
«Once Removed» 2006, oil on linen
«Gretchen» 2007, oil on linen on aluminium *
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CHRISTOPHER ORR (1967-) nascido em Helensburgh na Escócia
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«Some Time of this Day» 2007, oil on linen
«Book» 2005, oil on linen,+2003,+oil+on+canvas.jpg)
«Untitled» (Mist) 2003, oil on canvas
«The Deep Range» 2005, oil on linen
«Sinking» 2005, oil on linen
«Elevation» 2005, oil on linen*
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MICHAËL BORREMANS (1963-) nascido em Geraardsbergen, na Bélgica
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****************«Portrait 2» 2006, oil on canvas
**********«Crazy Fingers» 2007, oil on cardboard, Varnish
«The Pupils» 2001, oil on canvas
«Where is Ned?» 2002, oil on canvas*
DJORDJE OZBOLT (1967-) nascido em Belgrado na Sérbia
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«Run, Run as Fast as you Can» 2007, acrylic on board
«The Penitent Saint Jerome» 2006, acrylic on board*
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JULIE HEFFERNAN (1956-) nascida em Peoria, Illinois nos Estados-Unidos
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«Self Portrait as Quarry» 2000, oil on canvas
«Self-Portrait as Agnostic II» 2003, oil on canvas
«Self-Portrait as Subject» 2007, oil on canvas
«Self-Portrait as Dead Meat II» 2006, oil on canvas
«Self-Portrait as Wunder Kabinet» 2003, oil on canvas
«Self-Portrait as Thing in the Forrest III» 2003, oil on canvas *
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JOHN CURRIN (1962-) nascido em Boulder, Colorado nos Estados-Unidos
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«Standing Nude» 1993, oil on canvas
«Thanksgiving» 2003, oil on canvas
«2070» 2005, oil on linen*
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KAREN KILIMNIK (1962-) nascida em Philadelphia, Pennsylvania, nos Estados-Unidos
«Prince Charming» 1998, oil on canvas
«The Shade in the River Styx» 2005, water soluble oil on canvas
«Tabitha II» 1998, water soluble oil on canvas
«The Head Witche's House, ReceptionRoom» 2005 water soluble oil on canvas
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WILHELM SASNAL (1972-) nascido em Tarnów, na Polónia
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«Girl Smoking (Dominika) 2001, oil on canvas
«Untitled» 2004, oil on canvas
«Portrait of Rodchenko, Lady» 2002, oil on canvas
«Broniewski» 2004, oil on canvas*
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JAKUB JULIAN ZIOLKOWSKI (1980-) nascido em Zamosc na Polónia
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«The Great Battle under the Table» 2006, oil on canvas *
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ANJ SMITH (1979-) nascida em Londres na Inglaterra
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«High Place Reminder» 2007, oil on linen
«Totem 2» 2006, oil on linen *
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GLENN BROWN (1966-) nascido em Hexham na Inglaterra
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«The Aesthetic Poor (for Tim Buckley) after John Martin» 2002,oil on canvas
«Filth» 2004, oil on panel
«Harpy» 2002, oil on panel
«Misogyny» 2006, oil on wood
«America» 2004, oil on panel+2000,+oil+on+canvas.jpg)
«The Loves of Shepherd» (after Tony Roberts) 2000,oil on canvas
Old School é um fenómeno recente na arte contemporânia, na medida em que celebra o assumir de um novo compromisso com as formas de representação dos Grandes Mestres da pintura. Uma nova geração de artistas toma como referência as obras de arte desses grandes clássicos, redefinindo e recontextualizando as técnicas, as temáticas e a expressão através da imagem, dos seus antecessores. A exposição Old School pretende assim estabelecer o diálogo entre o clássico e o actual, através de uma selecção de obras que vai desde o século XV até à actualidade.
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Nesta exposição, cada um dos jovens artistas apresenta a sua própria conceptualização artística a partir dos referenciais históricos. Adoptando as iconografias, os ritmos gráficos e as técnicas de Lucas Cranach (1472-1553), as pinturas de John Currin de meados a finais dos anos 90, introduzem uma complexidade histórica e um estilo distinto e elegante aos corpos femininos, provocadoramente artificiais, que figuram nas suas obras. Artistas como: Currin, Anj Smith e Djordje Ozbolt, conscientemente fazem uso das composições clássicas da pintura de género, histórica e paisagística, de modo às suas imagens fazerem lembrar as obras de arte do passado, enquanto exploram o fosso entre as antigas e as actuais sensibilidades. Esta observância de diferentes tempos numa só imagem, é também explorada nas complexas pinturas de Hilary Harkness, que faz confluir episódios históricos com extravagância contemporânea, e também nas obras de Richard Wathen, cujos retratos expõem concentradas numa só as várias idades da vida do ser humano.
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Enquanto que a destreza técnica é uma característica de muitos dos trabalhos da exposição, as atitudes expressas em relação à arte do passado variam enormemente. Enquanto algumas das homenagens de artistas contemporâneos ao trabalho dos grandes mestres são assinaladas com ambivalência, o trabalho de Berlinde de Bruychere, por oposição, responde com a utilização de materiais intemporais com vista à abordagem do tema do processo de envelhecimento de uma forma afectuosa e sincera. Por outro lado, as semelhanças superficiais de Glenn Brown e Anj Smith com as icónicas obras clássicas abrem caminho à inovação estilística.
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Tal como nas obras dos Grandes Mestres e nas dos contemporâneos, teatricalidade e narrativa são amplamente toleradas. As alegorias podem ser lidas e as opiniões produzidas através de detalhes ocasionais e de formas exageradas e idealizadas. Sentimentalismo, humor e representação são evidentes em obras como: “Great Battle under the Table” de Jakub Julian Ziolkowski e “Self Portrait as a Tender Mercenary” de Julie Heffernan, enquanto que é o modo antiquado de vestir das pessoas que habitam as paisagens semelhantes às de Brueghel, de Christopher Orr que confere estranheza aos seus quadros. Tal como Orr, Borremans, Peyton, Kilimnik e Raedecker, todos eles constroem implacáveis e fabulosos contos de fadas da junção entre as realidades dos tempos modernos com elementos e estilos que apontam nostalgicamente para o passado.
Zwirner & Wirth Gallery, New York
(traduzido por Fernanda Valente)
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Old School celebrates a re-engagement with Old Master modes of representation, which might be said to be a recent phenomenon in contemporary art. A younger generation of artists looks to the past in works that re-define and re-contextualize the techniques, themes, and imagery of their art-historical predecessors, and Old School aims to present a dialogue between old and new with a selection of works spanning the 15th to the 21st centuries.
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Each of the younger artists in this exhibition presents a unique approach to history. By adopting the iconographies, graphic rhythms and techniques of Lucas Cranach, John Currin’s paintings from the mid to late nineties graft a historical complexity and painterly panache to the provocatively unnatural female bodies that feature in his paintings. Artists such as Currin, Anj Smith, and Djordje Ozbolt consciously make use of classic compositions of genre, history and landscape painting so that their images recall past artworks, while mining the gap between current sensibilities and those of previous times. This observance of different moments of time within a single image is also explored in Hilary Harkness’ complex paintings, which conflate episodes from history a contemporary extravagance, and in the works of Richard Wathen whose portraits are chilling distillations of all of a person’s ages into one.
Each of the younger artists in this exhibition presents a unique approach to history. By adopting the iconographies, graphic rhythms and techniques of Lucas Cranach, John Currin’s paintings from the mid to late nineties graft a historical complexity and painterly panache to the provocatively unnatural female bodies that feature in his paintings. Artists such as Currin, Anj Smith, and Djordje Ozbolt consciously make use of classic compositions of genre, history and landscape painting so that their images recall past artworks, while mining the gap between current sensibilities and those of previous times. This observance of different moments of time within a single image is also explored in Hilary Harkness’ complex paintings, which conflate episodes from history a contemporary extravagance, and in the works of Richard Wathen whose portraits are chilling distillations of all of a person’s ages into one.
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While technical dexterity is a characteristic of many of the works in the exhibition, the attitudes displayed towards the art of the past vary tremendously. While some of the contemporary artists’ homages to old master work is spiked with ambivalence, the work of Berlinde de Bruyckere, in contrast, returns to timeless materials to treat age-old subject matters with warmth and sincerity. Moreover, Glenn Brown’s and Anj Smith’s superficial resemblances to old and iconic works give way to stylistic innovation.
While technical dexterity is a characteristic of many of the works in the exhibition, the attitudes displayed towards the art of the past vary tremendously. While some of the contemporary artists’ homages to old master work is spiked with ambivalence, the work of Berlinde de Bruyckere, in contrast, returns to timeless materials to treat age-old subject matters with warmth and sincerity. Moreover, Glenn Brown’s and Anj Smith’s superficial resemblances to old and iconic works give way to stylistic innovation.
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In Old Master and contemporary works alike, theatricality and storytelling are fully-indulged. Allegories can be read and opinions pronounced through chance details and exaggerated and idealized forms. Sentimentality, humor and role-playing is evident in works such as Jakub Julian Ziolkowski’s Great Battle Under the Table and Julie Heffernan’s Self Portrait as a Tender Mercenary, while it is the dowdily-dressed people that inhabit Christopher Orr’s Brueghel-like landscapes that give his paintings their strangeness. Like Orr, Borremans, Peyton, Kilimnik, and Raedecker all weave grim and fabulous fairy-tales out of the conjoining of modern-day realities with elements and styles that point nostalgically to the past.
1 comentário:
Seu blog é o que há de mais belo - arte pura... Puríssima. Tudo tão belo (como eu já disse); fico feliz porque aumenta até o meu pequeno acervo "on-line" sobre as obras e os artistas que cercam as mesmas. (...) Espero poder esbarrar por aqui sempre! :}
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