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Forbidden to scribble on the klottret
"Forbidden to scribble on the klottret"

"Östersjöutställningen Society Acts like too much and becomes a mess."

"When the nazis in Malmö tried to murder protesters during the International women's day 8 march and closed the museum of Modern art one day in solidarity with the victims. A small, but clear indication that Modern does not take society for granted, but sees itself as a co-creator for how we should have it together. The weekend after the election, gave one spot for the artists EvaMarie Lindahl & Lisa Nyberg to arrange a full afternoon on the political situation in Sweden and what can do together about it. One of the speakers, Liz Fekete quoted the Pope after Lampedusa: we live in globalised likgiltighetens time. In true Paul Klee-spirit, she felt that art's task to challenge this and to give visibility to new opportunities. The entire event was as a pill against the political depression. Just this shows the importance of the Modern in Malmö, despite the strained economy. "

"In the exhibition Society Acts involved right now 38 artists from Sweden, Finland, Estonia, Latvia, Lithuania, Poland, and Denmark. This is the third moderna exhibition since its inception in 2006 at Moderna in Stockholm, a muster of the Swedish art scene that is, therefore, to this time extended its territorial claims to the Baltic sea region. With reference to the Baltic exhibition in Malmö in 1914 to Modern now the linking of a region after a hundred years of relative privacy."

"the Title stresses that the museum not only follow what happens in the art, but also and creates konstvärldar. If the first two exhibitions were participatory to the notion of a national art scene so trying this exhibition establish something much more difficult, a community around the Baltic sea, but the germans and the russians."

"the Method to achieve this has been to include not only new artworks but also older works from the Modern collection. The idea is not so stupid, but in an open plan design allowing a variety of work go into each other rather provides a cluttered impression than to establish interesting relationship. It is as if the exhibition would like to too much but to really decide if you should be a gesamtkunstwerk, or a presentation of the individual work of art."

"This makes the exhibition loses the ability to take action and appear as arbitrary and closest to dejected as regards the belief in art's potential to actually act in the day. This is also confirmed by how Tadeusz kantor's diptych Was a good sign! is installed. When it was first exhibited in 1965 invited the audience to scribble on the piece in the lower part. 2014 has Modern and complemented the piece with a prohibition to do just that."

"in Front of the board hangs a rope with a clear message: Look but don't touch. You wonder why? But one thing is for sure, the rope creates a desire to act that is missing in the exhibition in its entirety."

"It does not mean that the exhibition is not worth seeing. Here there are lots of good art which in many cases probably do what Liz Fekete in the room next to the wish. But there are also other qualities. As for example, J O Mallanders series of photographs Brancusi Study, which depicts birds flying over the park Kungsträdgården in Stockholm in the middle of almstriden 1971: a display in the art to constantly look to the side. "

"In the museum's entrance you can pick up a small pin badge with the text I like Older Women. It turns out to be a part of Mette Winckelmans triptych with the same name. The mark is presented as a copy of a brand from the 70's that the artist found at the Lesbian Herstory Archives in New York city. The text is accompanied graphically by a triangle. A form which she then used to create a large triangelskulptur out in the turbine hall, which in turn is complemented with the third work in the triptych, a huge abstract painting."

"Both the painting and the sculpture type form themselves into a male-coded modernism, an association which, with the playfulness redirected towards the affairs of more or less closed communities at the side of the heteronormen. One of the few works that actually do something with the society we call art history."

"the moderna exhibition 2014 Moderna Malmö"

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