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Feminists boycotted our exhibition because of a nude girl in a vyshyvanka / Lifetime
Dmitriy Garrievich, we would like to ask you as MD of “PinchukArtCentre”. This centre of modern art is sometimes notorious for its quite scandalous exhibits as, for instance, a real cow in naphthalene. Can we say that our society has become so callous that now in order to arouse its cultural perception modern art needs to cut to the bone like this?
Dmitriy Logvin: - Victor Mikhailovich employed me for the job at the end of 2002 when ‘modern art’ was a totally non-existing concept to me. In 2003 we held a conference in Kiev where we invited the outstanding artists and critics from Ukraine, Russia, France and America to ask them the only one question: “What should the museum of modern art look like?” At that time I heard so many surprisingly new things, completely opposite to what I understood by it then. I thought that the things I didn’t get then was hackwork anyone off the street could do. Eventually I realized that merely visual perception and a flat ‘I like/I dislike’ kind of response may be enough for the classical but not for the modern art. Here it is essential to know the author’s background, right down to his biography, and what exactly this artistic response addressed. By the way, that cow is by no means in naphthalene...And its author Damien Hirst is well known for his shocking exhibits.
- However, it isn’t quite clear: two centuries ago when not only cows but people were falling dead in the streets because of the plague, dead bodies didn’t shock people. Nowadays a person enters a museum, sees a cow and is ready to complain about the violation of their rights. It turns out that the mankind has become too tender and vulnerable, right?
D.L.: - Let us draw another parallel. Several years ago I would have perceived the work of an outstanding sculptor Maurizio Cattelan on the ‘Ah, it’s Madame Tussaud’ level, I would have glanced at it and left. But not long ago, being able to pull rank, I came close to one of his sculptures at the ‘Sexuality and Transcendence’ exhibition. It depicted stretched out arms. But they seemed to have real blood running through...
Продолжение читайте в журнале English4U №11 (ноябрь 2010) на который можно подписаться или купить здесь.