{"id":67333,"date":"2019-02-05T09:55:27","date_gmt":"2019-02-05T08:55:27","guid":{"rendered":"https:\/\/www.area-arch.it\/en\/?p=67333"},"modified":"2019-02-13T17:30:23","modified_gmt":"2019-02-13T16:30:23","slug":"sanguine-luc-tuymans-on-baroque","status":"publish","type":"post","link":"https:\/\/www.area-arch.it\/en\/sanguine-luc-tuymans-on-baroque\/","title":{"rendered":"Sanguine. Luc Tuymans on baroque"},"content":{"rendered":"

\u201cSanguine. Luc Tuymans on Baroque\u201d<\/strong> will be on show at the Milan branch of the Fondazione Prada <\/strong>until the 25th<\/sup> of February<\/strong>. Organised in collaboration with MHKA<\/strong> (Museo d\u2019Arte Contemporanea di Anversa), KMSKA<\/strong> (Museo Reale di Belle Arti di Anversa) and the city of Anversa, the project was introduced in Milan as a newer and bigger version of the first presentation, which took place in the Belgium city from June to September of 2018. Luc Tuymans, the curator of the exhibition, conceived an intense visual experience composed of more than 80 works created by 63 international artists<\/strong>, of which more than 25 are exclusively exhibited at the Fondazione Prada<\/strong>.<\/p>\n

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“Sanguine. Luc Tuymans on Baroque” Fondazione Prada. Foto @Delfino Sisto Legnani e Marco Cappelletti.
Courtesy Fondazione Prada<\/figcaption><\/figure>\n

\u201cSanguine\u201d<\/strong> is a personal reading of the Baroque, composed of original combinations and unexpected associations of contemporary artists and works from the masters of the past. Without following a rigid chronological order or a strictly historiographical criterion, Tuymans invites us to reread both the art of the Seventeenth century and that contemporary to us, putting the figure of the artists and his role in society at the centre. Following Walter Benjamin\u2019s lesson, according to which the Baroque signalled the beginning of modernity, Tuymans investigates the search for authenticity, the political value of artistic representation, the disturbance induced by art, the exaltation of the author’s personality and the international dimension of artistic production in this exhibition, recognizing the privileged interlocutor of today’s art in Baroque.<\/p>\n

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“Sanguine. Luc Tuymans on Baroque” Fondazione Prada. Foto @Delfino Sisto Legnani e Marco Cappelletti.
Courtesy Fondazione Prada<\/figcaption><\/figure>\n

The title of the exhibition \u2013 a word which evokes the colour of blood, violent temperament, and one which is rich in vitality, but also a pictorial technique \u2013 suggests the multiplicity of perspectives with which we can interpret the exposed works, in which live violence and simulation, cruelty and theatricality, realism and exaggeration, disgust and splendour, terror and ecstasy.<\/p>\n

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“Sanguine. Luc Tuymans on Baroque” Fondazione Prada. Foto @Delfino Sisto Legnani e Marco Cappelletti.
Courtesy Fondazione Prada<\/figcaption><\/figure>\n

Ideas of corporality and physicality, as well as decomposition and hyper reality prevail in the displayed works. This is yielded through different expressive means: from painting to sculpture, photography to drawing, and installations to video. Works with a strong visual and emotional impact on visitors are presented, such as Fucking Hell <\/em>(2008) by Jake and Dinos Chapman, in which sixty thousand toy soldiers, who practice or suffer violence in large glass cases, embody the grotesque aspect of terror. Another example would be Nosferatu <\/em>[The Undead] (2018), which is a video installation by Javier T\u00e9llez that explores cinematographic memory and the condition of loneliness in mental illness sufferers. The lithographic series Thanatophanies <\/em>(1955-95) by On Kawara, which presents the deformed faces of the victims of the nuclear bombs dropped on Hiroshima and Nagasaki, expresses the human reaction of horror towards war. This forewarns us of the severed head of Golia, to which Caravaggio lends his own face, and the pale sleeping boy depicted in Sleeper <\/em>(2007-08) by Micha\u00ebl Borremans. The macabre vulnerability of the victims who we can observe in Peter Paul Rubens Compianto sul Cristo morto <\/em>[Lamentation over the Dead Christ] (1614) is also the central theme of Berlinde De Bruyckere\u2019s installation Flanders Fields <\/em>(2000) and Marlene Dumas\u2019 painting Dead Girl <\/em>(2002).<\/p>\n\n