I zložba u Fondaciji „Luj Viton“, koja se održava do 31. avgu- sta, okuplja više od 400 de- la Dejvida Hoknija iz perioda od 1955. do 2025, uključuju- ć i slike iz međunarodnih muzeja i pri- vatnih kolekcija, kao i radove iz samog umetnikovog ateljea. Tu su dela slikana uljem i akrilom, crtež tušem, olovkom i ugljenom, digitalna umetnost (rado- vi na ajfonu, ajpedu...) i impresivne vi- deo-instalacije. Dejvid Hokni je lično učestvovao u svakom aspektu izložbe odlučivši da se posebno fokusira na poslednjih 25 go- dina, uključujući i kultne rane radove, nudeći posetiocima redak uvid u nje- gov kreativni univerzum koji obuhva- ta sedam decenija. Učestvovao u kom- poziciji svake sekvence i organizovanju svakog prostora. – Ova izložba mi mnogo znači jer je najveća koju sam ikada imao, u 11 so- ba u Fondaciji „Luj Viton“. Neke od po- slednjih slika na kojima sada radim su uključene i mislim da će izložba biti ve- oma dobra, poručio je umetnik pred otvaranje u aprilu. Izložba počinje izborom dela od 50-ih do 70-ih godina 20. veka, uklju- čujući Hoknijeve početke u Bredfor- du („Portret mog oca“, 1955), njegovo vreme u Londonu, a zatim u Kaliforni- ji. Bazen, prepoznatljiva tema za umet- nika, pojavljuje se u „A Bigger Splash“, 1967. i „Portrait of An Artist (Pool wi- th Two Figures)“, 1972. Priroda posta- je sve važnija u Hoknijevom radu od 1980. do 1990, što je ilustrovano u de- lu „A Bigger Grand Canyon“ 1998, pre nego se vratio u Evropu gde je nastavio da istražuje slične pejzaže. Srž izložbe se koncentriše na pro- teklih 25 godina provedenih uglavnom u Jorkširu, Normandiji i Londonu. Ovaj period se na izložbi otvara prosla- vom jorkširskog pejzaža: umetnik slika žbun gloga u spektakularnoj eksploziji proleća („May Blossom on the Roman Road“, 2009), dok njegovo posmatra- nje promene godišnjih doba kulminira u monumentalnom zimskom prikazu „Bigger Trees Near Warter“. Ovo je izložba koja se nikako ne sme propustiti ako ste u Parizu, pa čak je i sasvim dovoljan razlog da se u Pa- riz ode, jer je taj grad uvek dobra ideja, a Er Srbija leti svaki dan...
A TREAT IN PARIS Rare insight into an amazing universe
The Fondation Louis Vuitton invited David Hockney, one of the most influential artists of the 20 th and 21 st centuries, to take over the entire building for an exhibition that’s proving to be exceptional in terms of both scale and originality
The exhibition, which is on display at Fondation Louis Vuitton until 31 st Au- gust, brings together more than 400 of Hockney’s works from 1955 to 2025, including paintings from international, institutional and private collections, as well as works from the artist’s own stu- dio. There are works in a variety of me- dia including oil and acrylic painting, ink, pencil and charcoal drawing, digi- tal art (works on iPhone, iPad, photo- graphic drawings…) and immersive vid- eo installations. Hockney has been personally involved in every aspect of the exhibition and has chosen to focus in particular on the past 25 years, whilst also including icon- ic early works, thus offering visitors ra- re insight into his creative universe that spans seven decades. The artist has par- ticipated in the composition of each se- quence and the layout of each space. “This exhibition means an enormous amount because it is the largest exhi- bition I’ve ever had – 11 rooms in the Fondation Louis Vuitton. Some of the very last paintings I’m working on now will be included in it, and I think it’s going to be very good,” said the artist ahead of the April opening. The exhibition begins with a selection
of works from the 1950s to the 1970s – including Hockney’s beginnings in Bradford (Portrait of My Father, 1955), his time in London and then Califor- nia. The swimming pool – a signature theme for this artist – appears in A Big- ger Splash, 1967 and Portrait of An Art- ist (Pool with Two Figures), 1972. Na- ture became increasingly important in Hockney’s work during the decade from 1980 to 1990 – as illustrated by A Big- ger Grand Canyon, 1998 – before he re- turned to Europe to continue his explo- ration of familiar landscapes. The core of the exhibition concentrates on the past 25 years, spent mainly in Yorkshire, Normandy and London. The exhibition opens this period with a cel- ebration of the Yorkshire landscape: the artist paints a hawthorn bush in a spec- tacular explosion of spring (May Blos- som on the Roman Road, 2009); his observation of the changing seasons culminates in the monumental winter landscape Bigger Trees Near Warter. An exhibition that simply mustn’t be missed if you happen to be in Paris, it is even reason enough in itself to head to Paris. That’s because this city is al- ways a good idea, and Air Serbia flies there every day...
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