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How Quickly Does Avant-Garde Age? Daudzināta Izstādes Pavadtekstos, Uzsverot 50

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How Quickly Does Avant-Garde Age? Daudzināta Izstādes Pavadtekstos, Uzsverot 50 Isamu Noguči - Kliedziens Balsas koks, metāls / Isamu Noguchi Viens no izšķirošajiem momentiem muzeja biogrāfijāJames Johnsonbija ar- One of the pivotal moments in the museum’s history was the un- The Cry Sweeneyhitekta Frenka Loida Raita slavenās ēkas atklāšana 1959. gadā ar vē- veiling of architect Frank Lloyd Wright’s iconic building in 1959 with Balsa wood, steel rienīgu izstādi, ko veidoja Džeimss Džonsons Svīnijs ( a major exhibition staged by the then-director James Johnson Swee 221x85.1x47.7 cm 15 ), tobrīd muzeja direktors. Svīnijs bija viens no pirmajiem ney. Sweeney was one of the first influential museum curators who Foto / Photo: Kris McKay ietekmīgajiem muzejniekiem, kas saskatīja abstraktās glezniecības saw the potential of abstract art and turned it into the cornerstone Foto no publicitātes materiāliem / Publicity photos - Pateicība / Courtesy of the Isamu Noguchi potenciālu un padarīja to par sava muzeja kolekcijas stūrakmeni. of his museum’s collection. It would only be a slight overstatement Foundation, Garden Museum, Artists Rights Society (ARS), New York (AlfredŠeit Barr liela nozīme tiek piešķirta personību mitoloģijaiMoMA – Svīnijs to say that the spirit of the lonesome hero, a cowboy fighting for jus Edvardo Čiljida savā ziņā ir ŅujorkasWilliam kultūrvaronis, Rubin MoMA tāpat kā, teiksim, Alfreds Bārs tice and pushing back the frontiers, has been highlighted not only- No iekšpuses ), pirmais Modernās mākslas muzeja ( ) direktors, through the public figures among the heroes of American abstract Dzelzs / vai Viljams Rubins ( ), ilggadējais glezniecības expressionism like Jackson Pollock, but also by the leaders of institu Eduardo Chillida From Within (Desde dentro) un skulptūras nodaļas vadītājs un kurators. Te var saskatīt zinā- tions who have, to a great extent, shaped the public image of those- Iron mas paralēles ar amerikāņu kultūrā bieži sastopamo jūsmu par artists and thus paved the way for the global market of modern art. 98.4x27.9 cm savu līderu varonību un individuālismu, kas tiek pieņemta bez Great significance is attached here to the mythology of person 153 - Foto / Photo: Robert E. Mates mazākās ironijas vai skepses. Tikai nedaudz pārspīlējot, var teikt, alities – in some respects, Sweeney is New York’s cultural hero, just Foto no publicitātes materiāliem / Publicity photos Pateicība / Courtesy of the Artists Rights Society ka vientuļā un varonīgā kovboja – taisnības cīnītāja un jaunu teri like, say, Alfred Barr, the first director of the Museum of Modern Arts- (ARS), New York/VEGAP toriju atklājēja – gars tiek izcelts ne vien tādu amerikāņu abstraktā (MoMA), or William Rubin, long reigning director and curator of ekspresionisma varoņu publiskajos tēlos kā Džeksons Polloks, painting and sculpture at the MoMA. Here one can see certain paral bet arī institūciju līderu tēlos, kuri lielā mērā veidojuši publikas lels with the enthusiasm often encountered in American culture for priekšstatus par šiem māksliniekiem un ar to arī likuši pamatus the heroism and individualism of their leaders, accepted without the globālajamCitādība modernās kā mērķis mākslas tirgum. slightestOtherness hint of ironyas a goal or scepticism. Art of Another Kind “Cita māksla” lielā mērā atsaucas uz 1959. gada izstādi,Michel bet nav Tapié tās largely refers to the 1959 exhibition, but it is tiešs atkārtojums, drīzāk mazlietUn art autre uzlabota versija. Tās nosaukums not its direct replica, ratherUn a slightlyart autre improved version. Its name aizgūts no franču kritiķa un kuratora Mišela Tapjē ( ) has been borrowed from a book by French critic and curator Michel grāmatas “Cita māksla” ( , 1952). Tapjē tiek uzskatīts“ Tapié, ‘Art of Another Kind’ ( , 1952). Tapié is considered Cik ātri noveco avangards? par Eiropas abstraktās mākslas teorētisko pamatlicēju. Abstrak- a founder theorist of European abstract art. Abstraction as radical cija kā radikāla citādība mākslā – pēc būtības, ne tikai pēc burta” – otherness – in the spirit, not only by the letter – was extolled in the How quickly does avant-garde age? daudzināta izstādes pavadtekstos, uzsverot 50. gados notikušo accompanying texts to the exhibition, highlighting the irreversible “Cita māksla: starptautiskā abstrakcija un Gugenheima muzejs, 1949–1960”/ neatgriezenisko atteikšanos sekot jebkādai tēlotājmākslas tra- rejection of any connection with the figurative art tradition and dīcijai un mākslinieka individuālisma cildināšanu. Citādību un the glorification of an artist’s individualism that took place in the Art of Another Kind: International Abstraction and the Guggenheim, 1949–1960 - individuālismu vēl uzskatāmāk tajā desmitgadē pauda Raita 1950s. Otherness and individualism was even more graphically 08.06.–12.09.2012. Solomona R. Gugenheima muzejs, Ņujorka / veidotā muzeja ēka – negaidīti noapaļotās formas, kas neno expressed during that same decade by the museum building of Solomon R. Guggenheim Museum, New York liedzami izcēlās uz primitīvi taisnstūrainā Ņujorkas ielu režģa Wright’s design – the unexpected curved shapes which, undeniably, un tikpat taisnstūraino namu fona. stood out against the background of the primitively rectangular grid Alise Tīfentāle Atsaucoties uz franču autora grāmatu izstādes nosaukumā, of New York City streets and its equally rectangular houses. Mākslas zinātniece / Art Historian Gugenheima muzejs mēģina radīt priekšstatu par abstrakto glez- By alluding to the book by the French author in the exhibition niecību kā globālu kustību, vienlaikus uzsverot, ka pionieru un title, the Guggenheim Museum is trying to present the idea of ab-- Art of Another Kind - jaunatklājēju loma šajā kustībā nenoliedzami pieder amerikāņu stract painting as a global movement, underlining at the same māksliniekiem. Turklāt radikālais lūzumpunkts abstrakcijas time that the role of pioneers and groundbreakers in the move Izstāde “Cita māksla” piedāvāja atskatu uz pēckara amerikāņu māk- The exhibition offered a retrospective of the ide virzienā muzeja skatījumā attiecas galvenokārt tikai uz formā- ment irrefutably belongs to American artists. What’s more, the slas pasaules ideāliem, kas cita starpā saistīti arī ar Solomona R. als of postwar American art, which are related among other things- lajiem aspektiem – tieši tāpat kā 1959. gadā, arī 2012. gadā tiek- radical turning point towards abstraction, from the Guggenheim’s Gugenheima muzeja izveidošanu Ņujorkā. 20. gs. 50. gadi – ame- also to the establishment of the Solomon R. Guggenheim Museum in ignorēti krietni vien atšķirīgie sociālie, ekonomiskie un politiskie perpective, is mainly to do with formal aspects – just like back in- rikāņu abstraktā ekspresionisma zvaigžņu stunda un uzvaras gā- New York City. The 1950s were the heyday and triumph of Ameri apstākļi, kas ietekmēja un rosināja abstrakcijas attīstību Eiro 1959, so also in 2012 the considerably different social, economic jiens t. s. brīvajā pasaulē un vispārēja ticība abstrakcijai mākslā can abstract expressionism in the so-called free world, and a general pas valstīs. Neskaitāmi zinātniski sējumi veltīti Eiropas un ASV and political conditions that affected and promoted the devel kā augstākajai indivīda radošās un politiskās brīvības izpausmei. belief in abstract art as the ultimate manifestation of an individual’s- pēckara vēstures analīzei, un ir pilnīgi skaidrs, ka 50. gadu Eiropāart in- opment of abstractionism in European countries are ignored. Tas ir laiks, kad mākslinieks – vientuļais ģēnijs cieš un rada brī- creative and political freedom. A time when the artist, the lonely formelbija daudz vairāk atšķirīgā nekā kopīgā ar 50. gadu Ameriku, arī Countless volumes of academic research have been devoted to nišķīgus abstraktā ekspresionisma vai krāslaukumu glezniecības genius, suffers while creating wonderful pieces of abstract expres mākslā. Seržs Gilbo norādījis, ka franču abstrakcijas – the analysis of postwar history of Europe and the USA, and it is paraugus, kas ne tikai pauž konkrētā mākslinieka pārdzīvojumu sionism or colour field painting which not only reflect an individual’s – pionieri pauda vienlīdz noliedzošu“ attieksmi gan pret perfectly clear that in Europe of the 1950s there were far more vai redzējumu, bet turklāt arī visā pasaulē spēj apliecināt ASV kā emotional experience and vision, but are also able to reassert, the figurālo glezniecību un franču komunistu aizstāvēto reālismu,1 things that were different ratherart informel than in common with America- indivīda brīvības zemes reputāciju. No mūsdienu skatpunkta whole world over, the reputation of the USA as the land of individual- gan pret amerikāņu modernās mākslas auksto abstrakciju”.- of the 50s, also in art. Serge Guilbaut once noted that the pioneers raugoties, viss nebūt nav tik vienkārši, un mākslas zinātnieki un freedom. From a contemporary perspective, however, things are not Gugenheima muzejā šīs atšķirības neeksistē un tiek pieņemts, ka of French abstract painting – – propagated an equal vēsturnieki pēdējo pārdesmit gadu laikā ieguldījuši krietni daudz as simple as they seem, and art researchers and historians have in 50. gados mākslinieki visā pasaulē vienkārši sāka tiekties pēc ab- ly negative attitude, not only against figurative painting and the pūliņu, lai izskaidrotu abstraktās mākslas fenomenu ASV un Eiro- vested considerable effort in explaining the phenomenon of abstract strakcijas kā“ jauna izteiksmes līdzekļa. Bet par visuUntitled pēc kārtas. (Green realism advocated by French communists, but1 also towards the pā. Gugenheima muzejs, atskatoties uz savu
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