16.03.2018 Views

Gestalt for a museum (of modern art); Adapt. 2018

Gestalt for a museum (of modern art) This gestalt is based on the mix of characters in three ‘grand narratives’. Echo and Narcissus, Alice and The Cheshire Cat from Alice in Wonderland and Dorian in The Picture of Dorian Gray. In all of these stories plays the concept of mirroring a central role. Narcissus in love with his own reflection. Echo can only echo. Alice falls through the mirror and meets the Cheshire Cat who replies in riddles, changes his shape or color and can partially or completely disappear. And finally, Dorian Gray, whose excesses and debaucheries leave behind physical traces in his painted portrait, but do not affect his real face. Echo is in love with the Cheshire Cat. This in turn is in love with his own reflection. However, he did not realize that his reflection is not keeping pace with its own excesses. The face before the mirror turns into a “sacred monster”. The face in the mirror is always enjoyable. The cries he utters are out of admiration for repeats itself by Echo. The Cheshire Cat thinks the mirror is talking back with a loving voice. The contemporary museum is - simply put - mainly in conversation with ‘art’ in the form of what living artists produce and what is written about dead artists. The audience is witness to this dialogue between art and institute and tries occasionally to throw a word in between. These words will be heard only if they are a reflection on this dialogue.

Gestalt for a museum (of modern art)
This gestalt is based on the mix of characters in three ‘grand narratives’. Echo and Narcissus, Alice and The Cheshire Cat from Alice in Wonderland and Dorian in The Picture of Dorian Gray. In all of these stories plays the concept of mirroring a central role. Narcissus in love with his own reflection. Echo can only echo. Alice falls through the mirror and meets the Cheshire Cat who replies in riddles, changes his shape or color and can partially or completely disappear. And finally, Dorian Gray, whose excesses and debaucheries leave behind physical traces in his painted portrait, but do not affect his real face.

Echo is in love with the Cheshire Cat. This in turn is in love with his own reflection. However, he did not realize that his reflection is not keeping pace with its own excesses. The face before the mirror turns into a “sacred monster”. The face in the mirror is always enjoyable. The cries he utters are out of admiration for repeats itself by Echo. The Cheshire Cat thinks the mirror is talking back with a loving voice.

The contemporary museum is - simply put - mainly in conversation with ‘art’ in the form of what living artists produce and what is written about dead artists. The audience is witness to this dialogue between art and institute and tries occasionally to throw a word in between. These words will be heard only if they are a reflection on this dialogue.

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Gestalt for a museum (of modern art)

This gestalt is based on the mix of characters

in three ‘grand narratives’. Echo and Narcissus,

Alice and The Cheshire Cat from Alice in

Wonderland and Dorian in The Picture of Dorian

Gray. In all of these stories plays the concept of

mirroring a central role. Narcissus in love with

his own reflection. Echo can only echo. Alice

falls through the mirror and meets the Cheshire

Cat who replies in riddles, changes his shape or

color and can partially or completely disappear.

And finally, Dorian Gray, whose excesses and

debaucheries leave behind physical traces in

his painted portrait, but do not affect his real

face.

Echo is in love with the Cheshire Cat. This

in turn is in love with his own reflection.

However, he did not realize that his

reflection is not keeping pace with its

own excesses. The face before the mirror

turns into a “sacred monster”. The face

in the mirror is always enjoyable. The

cries he utters are out of admiration for

repeats itself by Echo. The Cheshire Cat

thinks the mirror is talking back with a

loving voice.

The contemporary museum is - simply put -

mainly in conversation with ‘art’ in the form of

what living artists produce and what is written

about dead artists. The audience is witness to

this dialogue between art and institute and tries

occasionally to throw a word in between. These

words will be heard only if they are a reflection

on this dialogue.


Cheshire Cat, Echo and Dorian Grey

The Cheshire Cat is a fictional cat appearing in Lewis Carroll’s Alice’s Adventures

in Wonderland. Alice first encounters it at the Duchess’s house in her

kitchen, and then later outside on the branches of a tree, where it appears

and disappears at will, engaging Alice in amusing but sometimes vexing

conversation. The cat sometimes raises philosophical points that annoy or

baffle Alice. It does, however, appear to cheer her up when it turns up suddenly

at the Queen of Hearts’ croquet field, and when sentenced to death baffles

everyone by making its body disappear, but its head remain visible, sparking

a massive argument between the executioner and the King and Queen of

Hearts about whether something that does not have a body can indeed be

beheaded.

At one point, the cat disappears gradually until nothing is left but its grin,

prompting Alice to remark that she has often seen a cat without a grin but

never a grin without a cat. It is this unusual disappearing act for which most

people remember Cheshire Cat.

One day when Narcissus was out hunting stags, Echo stealthily followed

the handsome youth through the woods, longing to address him but unable

to speak first. When Narcissus finally heard footsteps and shouted “Who’s

there?”, Echo answered “Who’s there?” And so it went, until finally Echo

showed herself and rushed to embrace the lovely youth. He pulled away

from the nymph and vainly told her to leave him alone. Narcissus left Echo

heartbroken and she spent the rest of her life in lonely glens, pining away for

the love she never knew, until only her voice remained.

The Picture of Dorian Gray The novel tells of a young man named Dorian Gray,

the subject of a painting by artist Basil Hallward. Basil is greatly impressed

by Dorian’s physical beauty and becomes strongly infatuated with him,

believing that his beauty is responsible for a new mode in his art. Talking

in Basil’s garden, Dorian meets Lord Henry Wotton, a friend of Basil’s, and

becomes enthralled by Lord Henry’s world view. Espousing a new kind of

hedonism, Lord Henry suggests that the only thing worth pursuing in life is

beauty, and the fulfilment of the senses. Realising that one day his beauty

will fade, Dorian cries out, wishing that the portrait Basil has painted of him

would age rather than himself. Dorian’s wish is fulfilled, subsequently plunging

him into a series of debauched acts. The portrait serves as a reminder

of the effect each act has upon his soul, with each sin being displayed as a

disfigurement of his form, or through a sign of aging.


Gerard Hadders, Pro Arts Design

Tuinlaan 64e, NL-3111 AW Schiedam,

t: +31(0)10 426 29 66

m: +31(0)623 67 10 93

gerard.hadders@proartsdesign.nl


Visual essay

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