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They are performers in the great tradition of German expressionists of the 1920s (Valeshka Gert…) who transformed the stage into a visual arts space. Siefert and de Laurens are among the artists whose precise theatrical and choreographic role cannot be defined.
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Even though the Fall Festival has already spotlighted large scale performances in the past such as with Meredith Monk and Laurie Anderson, this one is still exceptional. The relationship here is not one of rivalry as it is with the two cubists, but rather a collaboration between a director and a performer. The Fall Festival also features the team of Marion Siefert and Héléna de Laurens who have reunited for a performance entitled Le Grand Sommeil. One of these is this Georges Ribemont-Dessaignes’ vision of war whose striped, shiny exterior complements certain contemporary treatments of the pictorial surface. The end of the exhibit demonstrates the power of the cubist movement and has allowed some works, some of which are obviously minor but still quite unique, to be re-evaluated. Cubism increasingly proves to be more of an illusion rather than an exercise in the objectification of the gaze whose simultaneously reproduced elements guarantee the work’s success. Consequently, the construction of the elegant and transparent Guitarist dating from 1910, clearly evokes the architecture of a Mies van Rohe building rather than a musician’s instrument. “Guitare” par Braque, 1913.Įverything is amazing about this exhibit and all that we thought we knew is rediscovered. They transform something that risks becoming an analytical mannerism into a fresh reflection on the vanity of the act of painting, thereby challenging painting’s ability to imitate imitation. In other words, Braque and Picasso, but especially Picasso, use the technique of mise en abîme which places a copy of the image into the image itself. The stroke of genius of the piece consists in revealing the moment where, at the end of a period where wallpaper had been used to imitate other materials, the artist resorts to using the illusionist quality of painting to imitate wallpaper itself. Even then this “projection” addressed the concept of suprematism which we probably have forgotten may have had its origins here.
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Suddenly we see his Guitar, produced in Céret in 1913, which uses different kinds of paper and reduces the object to four interconnected rectangles on a triangle, one of which seems to project toward the viewer as a result of its sheer whiteness. But the at the end of the room Picasso, a superb “runner”, passes his competitor at the finish line with an extraordinary spurt of brilliance. The years from 1912 to 1914 have tended to mix the styles of the two artists until one becomes indistinguishable from the other. The peak of their competition is represented in the great hall, stretched out lengthwise, with the collages of both artists facing each other on opposite sides. The exhibit, however, offers some surprises including the way in which it transforms two of cubism’s champions, Georges Braque and Pablo Picasso, into a pair of athletes who have been continuously engaged in an exhilarating rivalry. It has been largely responsible for making the eye an adaptable organ that is no longer subject to expectations or to the ordinary joy fed by a certain idealism (appearance) on the contrary cubism has transformed the eye into an active instrument that constantly questions appearances. Much is known about this visual arts style whose impact has reverberated across all areas of artistic creation. The historic nature of this event lies in the number of works that have been brought together and the international origin of the loans. Since October 17 the Centre Pompidou has been hosting a historical retrospective devoted to cubism.