lunes, 20 de enero de 2014

A Defense of Contemporary Art.

In 1958, Yves Klein exhibited Le Vide (The Void) at the Iris Clert Gallery. The exhibition was an empty room: he removed everything in the gallery space except a large cabinet and he painted every surface white. The exhibitions color was blue: the large cabinet was blue, like the windows; a blue curtain was hung in the entrance lobby and blue cocktails were served. Because of the artificial color in the drink, the day after people had blue urine. 

Yves Klein, Le vide, 1958
Thanks to the enormous publicity, 3000 people were forced to queue up, waiting to be let into an empty room and to drink blue cocktails.
A lot of people might think: What has he done?, Is this art?, Where is the painting?, Is there any sculpture?, Why is the gallery empty? 

There isn’t any picture or sculpture. We just have an idea, "the specialization of the sensibility in the raw material state into stabilized pictorial sensibility", and its realization. 

Someone might think that this isn’t art, that it is a joke but no, I’m sorry, this is art. By and large people analyze art from an aesthetic point of view: a work has to have an aesthetic and a formal value, good proportions, an excellent drawing under the colors and, in the majority of cases, represent an important historical or a religious event. This is correct if we consider art of the past (ancient, medieval and modern) but wrong if we refer to contemporary art.

viernes, 10 de enero de 2014

Música callada

 
El año pasado tuve la suerte de poder acudir a una de las conferencias que, dentro del curso Enfoques organizado por la Fundación de Amigos del Museo del Prado, impartió la profesora María Nagore. Bajo el título “Música callada”, la conferencia trataba sobre las similitudes entre la obra del Greco y la del compositor Tomás Luis de Victoria.

La clase tuvo lugar a “pie de obra”, frente a la Adoración de los pastores pintada por el Greco en torno a 1614, y su fin era mostrarnos los paralelismos que hay entre esta obra y la composición O magnum misterium de Tomás Luis de Victoria, haciéndonos ver la “música callada” de la pintura.


El Greco. La Anunciación (detalle), 1597-1600. Museo del Prado