Tuesday, 28 July 2015

Modern Art temporary exhibitions at Museu Calouste Gulbenkian, Lisboa - The 26th of July 2015

I have never been too keen on Modern Art but I do keep on trying to get into the artists' frame of mind and whenever I have time  I make an effort to read either the catalogues of the exhibitions I attend or even books on the subject. I would lie if I said I dislike all the artistic pieces I have seen so far because the truth is that from time to time there are some that do catch my attention and which I can "relate" to, though not very often.

As I had been to a temporary exhibition in one of Gulbenkian Museum's galleries and there were two other temporary ones in the Modern Art part of the Museum I decided not to let the opportunity pass me by.
Once we walked into the first gallery there was a huge artistic installation with seven altars dedicated to the main Orisha Deities (the divinities of the Yoruba religion, which having originated in Africa are still worshipped in countries connected with the slave trade) covering one entire wall.

In front of each of the altars praising the Yoruba Divinities (Elegba - red and black; Ogun - green; Yemoja - blue; Obatala - white; Shango - red; Osun - yellow and Babalu Aiye - pink) several Yoruba keep stones, iconic and religious images, as well as other utensils used in holy rituals and ceremonies.

Holy food - a 1984-89 construction using several materials by Miralda (1942-)

As we made our way along the same floor we came across several artistic productions by a number of various artists I had personally never heard of. The explanations beside them provided an insightful perspective.


Luisa II - a 1993 iron and paint construction by Pepe Espaliú (1955-1993)

Love me and leave me and let me be lonely - a 1989 wood, wire, Gober wall paper, papier maché and mirror construction by Martin Kippenberger /1953-1997).

Mirar, ver, percibir (to watch, to see, to perceive or understand) - a 2009 lamp and cut viny graphics ' construction by Antoni Muntadas (1942-)

A 1994 hunting scene by Jeff Wall (1946-) using a cibachrome transparency alluminium frame and a fluorescent light.

False Movement (economic stability and up growth) - 1999-2003 rotating barrels by Damian Ortega (1967-)

(To be continued)


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