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Glenn Brown 2010 GLENN BROWN 2010. február 6 – április 11. | 6 February – 11 April 2010 1 Ludwig Múzeum – Kortárs Mûvészeti Múzeum | Ludwig Museum – Museum of Contemporary Art GLENN BROWN – GLENN BROWN – THE PaINTIng of GLENN A MASH-UP KULTÚra feSTÉSZETE MaSH-UP CULTUre BROWN „Munkáimmal azt próbálom kifejezni, hogy “The point I am trying to make in my work a nyelv kulturális tényező, és nincs is is that language is cultural and I have no 2010. február 6 – április 11. | 6 February – 11 April 2010 módom a nyelven kívül máshogy kifejezni option to express myself other than with magam. Ez a jó öreg posztstrukturalizmus. language. It’s good old Post-Structuralism. […] Nincs tehát más választásom, mint […] I have no option other than to appropri- kurátorok | curated by szöveg | text by hogy a világban hozzám sodródó képe- ate or transpose the images that the world Laurence SILLARS, Francesco BONAMI SZÉKELY Katalin ket átemeljem vagy kisajátítsam. Csalhat- has thrown at me. I could cheat and pre- nék, és tehetnék úgy is, mintha hihetetle- tend to do otherwise, pretend to be terribly, koordinátor | coordinated by fordította | translated by nül eredeti volnék, de ahogy már mondtam, incredibly original, but that as I said would SZÉKELY Katalin Iain COULTHARD ez svindli lenne. Ezért igyekszem inkább be fraud. I tend to go the other way and a másik utat járni, és még rátenni egy make a great big fat point of it.”1 Együttműködő partnerek lektor | proofreading lapáttal.”1 In collaboration with KÜRTI Emese, Adèle EISenSTEIN Glenn Brown (Hexam, 1966) is a member Tate Liverpool Glenn Brown (Hexam, 1966) a Young British of the generation of artists known as the (2009. február 20 – május 10. grafikai terv | graphic design Artists (yBa) néven elhíresült fiatal brit Young British Artists (yBa), which became 20 February – 10 May 2009) SZMOLKA Zoltán | Solid Studio művészgeneráció tagja, mely a Damian renowned thanks to the exhibition Freeze, Fondazione Sandretto Re www.solid.hu Hirst által 1988-ban rendezett, ma már curated by Damian Hirst in 1988, today Rebaudengo, Torino mitikusnak számító Freeze kiállítás kap- considered a legend. Glenn Brown, simi- (2009. május 28 – október 4. © Glenn Brown csán került reflektorfénybe. Glenn Brown larly to the other members of the group,2 28 May – 4 October 2009) © a szerző | the author a csoport több tagjához hasonlóan2 graduated from Goldsmiths College and © a fordító | the translator a Goldsmiths College-ban végzett, és szem- was greatly influenced by the radical and külön köszönet | special thanks léletére erősen hatott az iskola radikális, intensely conceptual atmosphere of the Christoph GRUnenberg Nyomda | printed by a hagyományos művészeti nevelés merev- school that rejected the rigidity of tradi- Patrizia San DreTTO Re Reba UDengo Keskeny Nyomda ségét tagadó, erősen konceptualista légköre. tional art education. The group placed Brit- Edgar LagUINIA A csoport ismét a művészeti érdeklődés ish art at the centre of attention again as Kyla McDonalD, Wendy LOTHIan Kiadja | Published by középpontjába állította a brit művésze- their exhibition entitled Sensation (1997) (Tate Liverpool) Ludwig Múzeum – tet, Sensation című kiállításuk (1997) dia- made a glorious journey around half the Irene CalDeronI, Carla ManTOVanI Kortárs Művészeti Múzeum dalmasan körbeutazta a fél világot, ugyan- world, while the exhibition hallmarked (FSRR) Ludwig Museum – akkor a médiamágnás és gyűjtő-mecénás with the name of Charles Saatchi, media Larry GagoSIan, Hannah FreeDberg Museum of Contemporary Art Charles Saatchi nevével fémjelzett kiállítás magnate and collector-patron of art (the Robin VoUSDen, Verity Brown (a művek az ő gyűjteményéből származtak, exhibited artworks were from his collec- (Gagosian Gallery) Művészetek Palotája | Palace of Arts és a kiállítás kurátora is ő maga volt) a yBa tion, and he curated the exhibition himself), Max HeTZler, Samia SaoUMA 1095 Budapest, Hungary, Komor Marcell u. 1. elleni kritikai hangokat is felerősítette.3 also amplified the critical voices against the (Galerie Max Hetzler) tel: +36 1 555 34 44 | fax: + 36 1 555 34 58 yBa.3 Patrick PaINTer e-mail: [email protected] A yBa művei hol hagyományos, hol szokat- (Patrick Painter Gallery) www.ludwigmuseum.hu lan, meghökkentő nyersanyagokból, illetve The works of the yBa are created with the 1 A gyűjtőknek nagylelkű támogatásukért technikákkal készülnek, forrásaik pedig use of sometimes traditional and some- To the lenders for their generous support Felelős kiadó | responsible for the edition rendkívül szerteágazók. Richard Shone times unusual, shocking raw materials and BENCSIK Barnabás a Sensation katalógusában éppen ezért azt techniques, and their sources are extremely boritó / cover: Ariane 5, 1997 olaj, vászon, táblára kasírozva /oil on canvas mounted on board 91 × 72 cm | Fondazione Sandretto Re Rebaudengo, Torino kivételtől eltekintve – megkérdőjelezték though the members of the Young British a festészet létjogosultságát, Glenn Brown Artists group – disregarding a few excep- mégis ezt a médiumot választotta. Fest- tions – questioned the reason for the exist- ményei létező, gyakran művészettörté- ence of painting, Glenn Brown still chose neti jelentőségű, vagy időnként a populáris this medium. His paintings derive from kultúrából átemelt képekből eredeztet- existing images, often of art historical sig- hetők: művészetének elsődleges forrása nificance, or sometimes appropriated from a művészi reprodukció. Albumokból vagy popular culture: the primary source of his az internetről gyűjtött képeket használ, art is artistic reproduction. He employs a művészettörténet kanonizált alkotóitól images taken from albums or from the in- (Rembrandt, Fragonard, Dalí) éppúgy merít, ternet, adopting imagery from the masters mint kevésbé ismert, XIX. századi festők- canonised in art history (Rembrandt, Frag- től (John Martin vagy Székely Bertalan), onard, Dalí) as well as from lesser-known vagy akár sci-fi könyvek illusztrátorai- 19th century painters (John Martin or Ber- tól (Chris Foss, Adolf Schaller vagy Tony talan Székely), or even from illustrators of Roberts). sci-fi books (Chris Foss, Adolf Schaller or Tony Roberts). Expresszionista ecsetvonásokat imitál: Willem de Kooning, Karel Appel vagy He imitates Expressionist brushstrokes: the Frank Auerbach festményeit, de a végered- paintings of Willem de Kooning, Karel Ap- mény nem az eredeti képnek, hanem rep- pel or Frank Auerbach, but the final result is rodukciójának a hiperrealista másolata. not a copy of the original picture, but rather Tükörsima felületű képei a régi mesterek a hyper-realistic copy of its reproduction. szemfényvesztő trükkjeit, a trompe l’oeil His paintings with a mirror-smooth sur- technikáját idézik. Aprólékos kézimun- face recall the illusion of the trompe l’oeil kával megfestett vásznai akár hatalmasra technique, delusive tricks used by the old nagyított reprodukcióknak is tűnhetnek, masters. His meticulously painted canvases újabb festményein ugyanakkor megfigyel- may appear to be reproductions enlarged hetők a számítógépes képfeldolgozó prog- to enormity, while the effects of computer ramok effektjei is. image-processing programs can also be observed in his more recent paintings. A Ludwig Múzeum kiállítása Glenn Brown munkásságának első átfogó bemutatója: The exhibition at the Ludwig Museum Bu- a Tate Liverpool és a torinói Fondazione dapest is the first comprehensive presen- Sandretto Re Rebaudengóval való együtt- tation of Glenn Brown’s work: realised as működés eredményeként jött létre. A buda- a result of cooperation with Tate Liverpool pesti kiállítás anyaga néhány kivételtől and Fondazione Sandretto Re Rebaudengo hangsúlyozza, hogy a művészet mindig is diverse. For this reason, in the Sensation eltekintve megegyezik a korábban megren- in Turin. With a few exceptions, the ma- változó nyelv volt, melynek szavai szabadon catalogue, Richard Shone emphasised that dezett liverpooli és torinói kiállításokéval, terial of the exhibition in Budapest is the 2 idézhetők, bővíthetők új jelentéstartal- art “has always been an evolving language, ugyanakkor első ízben szerepelnek a válo- same as that of the exhibitions held earlier 3 mak és érzelmek kifejezésekor, anél- its words recorded, tailored, quoted and gatásban Glenn Brown ún. „rétegzett” gra- in Liverpool and Turin, but in this case, it is kül, hogy puszta utánzatokká válnának.4 expanded to embody new meanings and fikái, rézkarcai, amelyeket Lucian Freud, the first time that Glenn Brown’s so-called Noha a Young British Artists tagjai – kevés feelings. Influence is not pastiche.”4 Al- Rembrandt, Urs Graf portréiból kiindulva “layered” etchings have been included in egymásra rétegződve hoz létre. The Great Masturbator [A nagy maszturbáló], 2006 olaj, tábla / oil on panel * * * 110 × 88 cm | Sander Collection Az információ szabad áramlása és felhasz- the selection, which he creates starting nálhatósága alapjaiban változtatta meg from portraits by Lucian Freud, Rembrandt a műalkotásokhoz, és eredetiségükhöz and Urs Graf. fűződő viszonyunkat. Nem véletlen, hogy * * * Dorian Lynskey, a Guardian recenzense az The free flow and use of information has évtized legfontosabb dalának a Stroke of fundamentally altered our relationship a Genius című dalt választotta,5 Roy Kerr, with artworks and their uniqueness. No avagy művésznevén Freelance Hellraiser wonder that Dorian Lynskey, a critic for szerzeményét, amely valójában nem számít The Guardian, chose as the most important hagyományos értelemben vett saját műnek, song of the decade, Stroke of a Genius,5
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