KULTURA / CULTURE
ROY LICHTENSTEIN IN VIENNA Vienna’s Albertina Museum is com- memorating the centenary of the birth of one of the fathers of pop art, Roy Lichtenstein (1923 -1997, New York, U.S.) with an impressive retro- spective. Over 90 paintings, sculp- tures, drawings and prints, from the collections of museums and private collectors worldwide, have arrived in Vienna for this extraordinary jubilee exhibition. Liechtenstein and his influence are recognisable even if you’re not a fan or connoisseur of his work. Stereotypical blondes, often in distress with or with- out men, cartoonish scenes complete with speech bubbles containing words
or thoughts that aren’t overly philo- sophical, utensils as a motif, dot se- quences that mimic the cheap print- ing technique of newspaper adverts for consumer goods, vibrant colours, lines that are easy to follow etc. The genius of Lichtenstein and pop art lies in the revolutionary idea of selecting items and scenes of consumer culture as art motifs and creating artworks us- ing techniques and media that were previously reserved for so-called high art. It’s up to you to decide whether his dotted beauties and items of furniture are intended to praise, parody or crit- icise the rise of consumer society in the America of the 1960s. You are cer- tainly awaited by great visual stimuli.
Do 1. jula Centar Pompidu At the Pompidou Centre until 1 st July
Konstantin Brankuši u Parizu U pariskom Centru „Pompidu“ otvo- rena je dosad najveća izložba skul- ptura Konstantina Brankušija (1876, Hobica, Rumunija – 1957, Pariz, Fran- cuska), njih skoro dve stotine. Ono što ovu izložbu čini jedinstvenom, po- red broja eksponata, jeste to što će mnoge skulpture biti postavljene tač- no onako kako ih je umetnik raspore- đivao u svom ateljeu, istražujući pro- storne odnose oblika kao umetničko sredstvo i delo.
Konstantin Brankuši je začetnik mo- dernizma u skulpturi, a njegovi radikal- no geometrizovani elegantni oblici u metalu, drvetu i kamenu, često jajasti i elipsoidni, po rečima samog umet- nika predstavljaju pronicanje u priro- du predmeta ili pojma – u fundament. Oblik je izvodio direktno iz materijala, mimo uobičajene prakse prethodnog pravljenja modela. Koliko je bio avangardan, govori i isti- nita priča o tome kako je jedna verzija njegove antologijske skulpture „Ptica u prostoru“ dovela do pravnog preseda-
na u SAD. Poslata u Njujork 1927. go- dine na izložbu, „Ptica“ je završila pred sudom, u sporu koji je poveo Brankuši, da bi se utvrdilo da li je u pitanju umet- ničko delo ili pak upotrebni predmet. Carinici su smatrali da ovaj predmet treba svrstati u opremu, dok je ozbi- ljan tim umetnika, kustosa i kritičara, svedoka i veštaka na strani Brankuši- ja dokazivao da svojstvo umetničkog jednom delu ne daje njegova vizuelna sličnost sa istoimenim bićem ili pred- metom iz prirode. Niti sa naslovom de- la. Presuda je glasila – umetnost!
46 | Umetnost » Art
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