Kate Sierzputowski writes: Moving the art viewing experience from a linear surface to a three-dimensional environment, the Art Institute of Chicago is launching an interactive experience alongside their latest exhibition—entry to a full-size replica of Van Gogh’s painting The Bedroom. The room, available on AirBnB starting today, includes all the details of the original painting, arranged in haphazard alignment to imitate the original room.
The installation was built to celebrate the exhibition “Van Gogh’s Bedrooms,” a show which centers around three paintings of his domestic space he created from 1888 to 1889. The exhibition also serves as the first time the paintings will exist within the same space in North America. The first of the three paintings was produced shortly after moving into his “Yellow House” in Arles, France, yet suffered water damage soon after its completion. Van Gogh painted two other versions of the paintings to preserve the composition, one while at an asylum in Saint-Rémy in 1889 and…(read more)
‘Involved in a Sexual Act with a Dog on a Bed of SS Helmets’: MACBA Barcelona Show Canceled Over Pornographic Artwork Ridiculing Spanish King Juan CarlosPosted: March 22, 2015
“It’s a work of art inscribed in the great tradition of works about art and power.”
— Valentín Roma, one of the curators of the exhibition
MACBA director Bartomeu Marí proposed that the sculpture be removed. When the artist and the curators declined, he canceled the exhibition.
Lorena Muñoz-Alonso and Brian Boucher report: An artwork depicting the former Spanish king Juan Carlos and Bolivian Labor leader Domitila Chúngara involved in a sexual act with a dog on a bed of SS helmets has led the Barcelona Museum of Contemporary Art (MACBA) to cancel the exhibition “La Bestia y el soberano” (The Beast and the Sovereign) on the day it was meant to open (see After 20 Years, Portrait of Spain’s Royal Family Is (Nearly) Finished). The offending artwork, Not Dressed for Conquering, is a sculpture by Austrian artist Ines Doujak.
“I don’t want to spend time describing the piece, which I consider inappropriate and contradictory to the museum’s line.”
“It’s a work of art inscribed in the great tradition of works about art and power,” Valentín Roma, one of the curators of the exhibition told El País.
“Art has been caricaturing the archetypes of power for centuries, which is what Doujak’s work is doing” (see Why Self-Censorship of Controversial Artwork is Wrong).
“I have always fought to defend contemporary art and its role in the reality that surrounds us, but in this case, I completely disagree with the inclusion of this work in an exhibition that reflects on the concept of sovereignty in all its aspects.”
— MACBA director Bartomeu Marí
The exhibition was to include more than two dozen artists and artist duos or teams, including Juan Downey, León Ferrari, Genesis Breyer P-Orridge, Mary Reid Kelley, and Wu Tsang. In an open letter, the curators assert that the museum management was fully informed of the show’s theme and contents:
The curators never hid any information about the exhibition to the director of the museum: he was informed by Paul B. Preciado and Valentín Roma of the concept and the full list of works of the exhibition. The director had validated the project and not only its text and description but also the list of artists were already published in the MACBA’s internet page months ago.
MACBA director Bartomeu Marí claims he had not seen the artwork until Monday.
“I don’t want to spend time describing the piece, which I consider inappropriate and contradictory to the museum’s line,” Marí told El País. “I have always fought to defend contemporary art and its role in the reality that surrounds us, but in this case, I completely disagree with the inclusion of this work in an exhibition that reflects on the concept of sovereignty in all its aspects.”
The show was curated by Hans D. Christ and Iris Dressler, co-directors of Stuttgart’s Württemberg Kunstverein, along with writer Paul B. Preciado and Valentin Rome. Read the rest of this entry »
Sam Frizell reports: In a very literal interpretation of the idiom “finding a needle in a haystack,” performance artist Sven Sacselber tries to do exact that. For about two days in a gallery in Paris, he is attempting to find an actual needle in an actual mound of hay.
Performance art often straddles a fine line between brilliance and inanity. Marina Abramović adventurous “Rhythm” series and Joseph Beuys shamanic “I Like America and America Likes Me” are widely agreed to have achieved the former category. Read the rest of this entry »