[Trending News] 'Flamboyant', the “artistic squatting” of the Liria Palace that they call exhibition

The feeling that one has when entering Flamboyant (“Extravagant” or “colorful” in translation), after having previously entered the great palace of the eighteenth, is a bit of being to be Gregorio Samsa The morning of his terrible awakening.

It could be said that it is the metamorphosis of art in an expression as it has rarely seen, although every time, for a long time, it has been seen more: “Okupado” classicism by “modern art” in an insistent effort that tries to form its conjunction.

But there can be no conjunction, or anything similar, when, almost brutally, a mastodontic “creation” almost extraterrestrial In a metaphorical sense. It is like A YANQUI in the court of King Arturobut without grace, on the other hand so difficult to fit when it is intended to join the speed with the bacon.

It is not known very well if the speed is the Palace of Liria and the bacon Flamboyant of Basqueles or vice versa. But it doesn't matter too much. In the rooms of the private Palace of Liria, more and more public in many ways, they have installed the inventions of the Portuguese artist without much regard, although of course there is.

Everything is impressions. Another thing is what those responsible tell us. The bad or the good of modern art is that it is always accompanied by an explanation that confuses everything a little more. Or much more. Is As if a novel always accompanied a summary With the meaning of the work: a nonsense.

Classic art does not need explanationeven the modern one that is no longer because it makes, something, whatever, preferably beautiful. The most modern art, as is the case with the installation of Vasconcelos, directs little towards beauty or the best towards a beauty that does not share its essences with the previous one.

It is heard a lot say modern artists, even modern ministers, that museums are «Living spaces»which suggests in a way not too subtle that museums, as they were, were dead and that the facilities, “performances” and others have revived them. Which, again, dismisses an aroma of revisionism and everything that surrounds it.

It seems that there is no way to get rid of him. Of an art form that breaks without connections with the previous art. There is no possible connection between the Basque Conches and a Goya box. And that is why, as there is no connection, there can not be “conversation”, which is another of today's art trends: that his works “talk” with those of the past.

One hears that museums are living spaces and that the works talk to each other and it is like The noise of the cicada or the chicharrathat is more resonant, insects as in which the poor protagonist of Kafka became. Giant insects such as what exactly seems what hangs in the palace chapel.

Vasconcelos is known or presented in the usual attached explanations as an artist who «decontextualizes everyday objects and updates the concept of arts and crafts for the 21st century, establishing a dialogue between the private sphere and public space, popular heritage and refined culture ”, as described by its art the Liria Palace itself.

And he adds: “Vasconcelos questions the status of women, the consumer society and collective identity with humor and irony.” The ideology, what heavinesseven heavier than the bird of pink lights or feminist shoes there in the midst of so many noble woods, velvets, tapestries, mirrors, porcelain, crystals, lattices and so many “outdated” wealth by incomprehensible facilities that must be explained.