Tate Modern’s Turbine Hall commission has become an annual, highly-anticipated fixture of the art scene, ranging from a giant egg-clutching arachnid through a vast shimmering sun to a fissure that zig-zagged across the floor. Forget that famous, headline-hogging sun. The latest crowd-puller, by the Polish artist Miroslaw Balka and due to be unveiled today, is quite simply the best Turbine Hall installation yet. ...
At the farthest end of the vast steel box is a ramp. The visitor walks up it and into a blackness so thick that you can almost feel it brushing against your face. The walls must be reached for with outstretched fingertips. They feel slightly fuzzy. A light absorbent flock coating has been sprayed over the surfaces, apparently, although by this point it’s probably not the materials that the spectator is wondering about as he stands abandoned in the dark.
The experience is sombre, discombobulating and perhaps a bit sinister. But it is beautiful too — and not least when, as your eyes slowly adjust, you begin to discern the infinite subtle shades of grey or turn back to face the entrance and see other visitors vacillating nervously on the brink before, stepping into the engulfing shadows, they are transformed into stalking silhouettes. ...
Slightly off the wall (a bad pun), but which of these two paintings of Henrik Dyremose do you like the best and why? Or why don't you like one or both of them?
Expert Mother tongues: Polish, English Posts: 2930 Joined: September 13, 2008 Location: United States
RE: ART MOVEMENTS
I do not like either one, and I do not know why.
I think it is the facial expressions, the belly on the second picture, and the hand. They could have done better than that.
I think he did not like the first one though: the second one is better. The first posture is all sqooshed; the facial features are as if he was holding pain or wanted to go to the bathroom. In fact the, second one is not so bad.
No wonder that one may get features like that: who would want to pose like that.
I think his clothes might be too tight in the first picture too, which may cause the pain.
[Edited by Liliana Boladz-Nekipelov on October 15, 2009 1:03 PM]
Originally written by Liliana Boladz-Nekipelov on October 15, 2009 5:25 PM
I do not like either one, and I do not know why.
I agree with you, though I know why I don't like either one.
I think he did not like the first one though: the second one is better. The first posture is all sqooshed; the facial features are as if he was holding pain or wanted to go to the bathroom. In fact the, second one is not so bad.
On both paintings, Dyremose has this incredibly self-satisfied expression. He is one of the greedy bastards. On the first one, the suit is pale, like gold (!), i.e., not a power suit. The score card is way off...his tie is crooked. He's too tanned and looks as though he is a playboy, not a serious business man. The right leg resting on the left knee is malplaced. The pants are too tight and the family jewels too obvious. He's holding the pool cue, if that's what it, as if it were a toy whip across his knees and his hands look fat and without any energy in them. And then there's that beautiful and fragile tea cup... I have a feeling that the artist saw him rightly and that is why Dyremose didn't like it...
On the second one he is virtually sexless, and the power is make-believe in a H.C. Andersen The Emperor's New Clothes manner...
Nanna
[Edited by Nanna Mercer on October 15, 2009 1:22 PM]
Not to mention the fact that the head in the first portrait seems to have been cut out of another (and another kind of) picture and pasted/glued into this one...
Originally written by Dodo Kaipdodo on October 15, 2009 7:55 PM
Not to mention the fact that the head in the first portrait seems to have been cut out of another (and another kind of) picture and pasted/glued into this one...
The Danes like to make fun of and lampoon people like Dyremose, who want to be seen as above all others who must, of necessity, pay homage to such 'golden' boys.
I forgot to mention (I know it's mean) that Politiken suggests that the pool cue look more like walking stick for the blind...
The newspaper that bought the original story has now taken it a wee bit further: a manipulated photo competion. Submissions:
Mother tongue: Polish Joined: February 18, 2003 Location: Poland
RE: ART MOVEMENTS
Die Welt 20.10.2009
Van Gogh's "Shoes" may be of "little importance to the history of art", writes Uta Baier, but they have provoked much philosophical musing over the years. The battered old boots are now the subject of a small exhibition in Cologne's Wallraf-Richartz Museum. Heidegger saw the shoes as a negative cast of a peasant woman's life; the art historian Meyer Shapiro saw a self-portrait, and then came Derrida's "Verite en peinture": "Derrida expressed doubt that this was even a pair of shoes at all. And he was right, because these are two left shoes. The observation opens up entirely new interpretations, including the Freudian one, which Derrida contemplates with relish. In this new light, one shoe could be male and the other female. At any rate, Derrida puts paid to the notion of art as a mirror of reality. 'These shoes are an allegory of painting itself.'" http://www.signandsight.com/intodaysfeuilletons/1950.html
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