{"id":13127,"date":"2015-02-18T13:40:41","date_gmt":"2015-02-18T12:40:41","guid":{"rendered":"http:\/\/meonline.hu\/?p=13127"},"modified":"2015-02-18T13:40:41","modified_gmt":"2015-02-18T12:40:41","slug":"tervek-a-vilag-felgyujtasarol-es-a-nagy-uvegrol","status":"publish","type":"post","link":"https:\/\/meonline.hu\/en\/magyar-epitomuveszet-hirek\/tervek-a-vilag-felgyujtasarol-es-a-nagy-uvegrol\/","title":{"rendered":"From Sade to Duchamp"},"content":{"rendered":"

Two Exhibitions in Paris<\/strong><\/p>\n

\"Jean-Jacques

Jean-Jacques Lequeu: G\u00f3tikus h\u00e1z f\u00f6ldalatti labirintusa \u00a9 Biblioth\u00e8que Nationale de France<\/p><\/div>\n

Sade. Attacking the Sun
\nMus\u00e9e d’Orsay, Paris, 14 October 2014 – 25 January 2015<\/strong><\/p>\n

Donatien Alphonse Fran\u00e7ois de Sade (1740\u20131814) completely transformed the history of both literature and the arts, first as an underground writer, and later by becoming a veritable legend in his lifetime.
\nThe Divin Marquis’s work is a radical questioning of issues of limits, proportion, excess, notions of beauty, ugliness, the sublime and the body image. He takes the way we look at things and sweeps away all our religious, ideological, moral and social presuppositions.
\nFollowing the analysis of the writer Annie Le Brun, a specialist of Sade, the exhibition will be focusing on the revolution of representation opened up by the author’s writings. Topics addressed will be the ferocity and singularity of desire, deviation, extremes, the weird and the monstrous, desire as a principle of excess and imaginary recomposition of the world, through works by Goya, Gericault, Ingres, Rops, Rodin, Picasso\u2026<\/p>\n

Marcel Duchamp. La peinture, m\u00eame
\nCentre Pompidou, Paris, 24 September 2014 – 5 January 2015<\/strong><\/p>\n

A new interpretation of the paintings of Marcel Duchamp, one of the most iconic figures in 20th century art.
\nMuch has been said about Marcel Duchamp’s break with painting, putting forward, as a red herring, the original psychological trauma caused by his Cubist friends’ and brothers’ rejection of his Nu descendant un escalier for the 1911 Salon des Ind\u00e9pendants. In the light of various iconoclastic, Dadaist gestures and his invention of the ready-made, the creator of Fountain (the “Fountain\/urinal”) is generally perceived as the artist who killed painting. And yet the debate remains open: was not Duchamp’s intention to reformulate it, rather? The Centre Pompidou exhibition now proposes a new interpretation of the paintings of one of the most iconic figures in 20th century art.<\/p>\n

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