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February: Catharctic Artseeing

Arlette Sanz Dutheil Posted: march 5, 2017 / Modified: april 6, 2017
February: Catharctic Artseeing
It all started at Bristol City Art Museum following Banksy, reading «Wall and Peace», in short getting familiar with the discrepancy between street, gallery and museum art.
In Sliema (Malta), eyes were all drawn to that cinematic mural which - it turned out later on - epitomizes the gap or rather the black hole in artistic creation with fewer alternatives left. Either works are shown in barren history-laden rooms, tiny gaudily-packed ones downtown or improvised vacant urban spaces.
In Gozo I poked into a mixture of photos, paintings and sculptures - all designed in classic forms, unfit for museums or galleries, let alone for the streets. The viewer was stranded, emotionless.
Madrid aroused a wider range of feelings, like the runner I broke the wall of indifference to step into the Prado with renewed energy, intending to miss none of the great masters and reinforce my basics on perspective, light, movement, anatomy and transparency. My thirst was fully quenched. The black hole was alive. I felt crushed under masterpieces.
Near Atocha, the gazer stood in awe at the Nouvel building, still lost hope after having a glimpse at Guernica - once again - (tears came naturally). Roaming from one room to the other, I sensed a black hole or maybe a white void crossing centuries which have to state their approach via concepts and quotes. A climax was reached in the Schneider chamber. It was all about dismembering the human body; or was it art that was dismembered by colour-blindedness?
The runner's impulse was fixed. Yet motion was to be found in new forms: photography, the cinema, and architecture. Lichtenstein's black and white sculpture and the runner relayed each other in abstract movement.

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