Issey Miyake to the center of Pompidou

[oStelios]

From june 15 to the center of Pompidou of Paris the multimedia show "Big Bang" inspired to the creation in wide sense. Between the works also a project of the fashion designer Issey Miyake.
The cultural center Parisian, been born from the whim of Georges Pompidou in 1969, accommodates from june 15 2005 video, photography, operates of design and architecture, that represent the positive decostruzione of the vital cycle, from the primordial Big Bang (title of the show) to today.
The eternal cycle of the life, that it is produced across sexuality,a return to the arcaismo and king-emotional charm (sections chosen from the creators), it is not exhausted in its to progress negative verse melancholy, subversion and war, but preserve in the biological trial both the phases.
Issey Miyake interprets this eternal to regenerate itself across a woven that it is folded constantly on himself, titling its project Making Things 1991 - Pleats Please.
The trial of folding invented from the designer is itself developed until the present utilization of a mechanical crowd to high temperature that bends the material of the head in lasting manner, thanks to its insertion to the inside of two sheets of card. This will be visible to the visitors of the center of Pompidou until 28 next February.

 

[kit]

From june 15 to the center of Pompidou of Paris the multimedia show "Big Bang" inspired to the creation in wide sense. Between the works also a project of the fashion designer Issey Miyake.
The cultural center Parisian, been born from the whim of Georges Pompidou in 1969, accommodates from june 15 2005 video, photography, operates of design and architecture, that represent the positive decostruzione of the vital cycle, from the primordial Big Bang (title of the show) to today.
The eternal cycle of the life, that it is produced across sexuality,a return to the arcaismo and king-emotional charm (sections chosen from the creators), it is not exhausted in its to progress negative verse melancholy, subversion and war, but preserve in the biological trial both the phases.
Issey Miyake interprets this eternal to regenerate itself across a woven that it is folded constantly on himself, titling its project Making Things 1991 - Pleats Please.
The trial of folding invented from the designer is itself developed until the present utilization of a mechanical crowd to high temperature that bends the material of the head in lasting manner, thanks to its insertion to the inside of two sheets of card. This will be visible to the visitors of the center of Pompidou until 28 next February.

You've used a translation programme , you naughty boy , oStelios .
Much of this comes out garbled .
Could you post the original , which I assume is in French .

Anyways , thanks for your taking the trouble to post .

 

[oStelios]

I don't speak french!
and I lost the original link too!
sorry

 

[TheSoCalledPrep]

just go back to the page you used to translate it and do an english-french.....you should end up with the original...

 

[orlem]

just go back to the page you used to translate it and do an english-french.....you should end up with the original...

Nah, I just tried it... still hard to understand.

 

[Estella*]

well, here's an article on the exhibition from www.ttc.org/ but only one line on miyake. the centre pompidou homepage offers a walk through all the rooms of the exhibition and it is mouth-watering but no trace of miyake there?

POMPIDOU CENTRE'S 'BIG BANG' EXHIBIT BOOKENDS THE 20TH CENTURY
Received Wednesday, 15 June 2005 04:10:00 GMT

PARIS, June 15 (AFP) - The "Big Bang" exhibit at Paris' Centre Pompidou, which opens Wednesday, is an alternately exhilarating and harrowing odyssey through the 20th century as refracted through the eyes of its greatest artists.
The dizzying display of 850 paintings, sculptures, films, architectural models, multimedia installations and even books-as-art-objects is all the more challenging for visitors because of the way it is organized.
The works are grouped neither chronologically or by school, but thematically under the overarching yin-and-yang umbrella of "destruction and creation."
Thus a 2000 video loop by Chen Xiuwen of Chinese prostitutes primping themselves in a bathroom mirror, unaware of the camera, hangs on the wall next to Georges Rouault's 1906 masterpiece in acrylic "Fille au Miroir" ("girl facing mirror"), like bookends to a troubled century.
Drawing from one of the richest permanent collections in the world, curators at France's national museum of modern art deliberately set out to do something new.
"Big Bang is an experimental work that breaks taboos and upsets the established order of things by mixing periods and genres, and by offering news and unexpected juxtapositions," said museum director Alfred Pacquement during a preview showing.
The difference is obvious from the start.
"Destruction," the first of eight themes further divided into single-room sub-themes, starts off with a "clang" if not a "bang" -- an unnervingly loud, periodic report from an unseen bell.
What is visible at the same time is typical of the quality and power of what follows: De Kooning's 1972 life-size bronze "The Clam Digger", a hideously deformed figure armed with a bludgeon-like tool and a half-erect penis, stands next to Germain Richier's 1947 "Ogre", himself facing Picasso's "Women before the Sea" and backed by Francis Bacon's deeply disquieting "Three Figures in a Room."
The other seven "themes," spread out over the exhibits 5,400 square meters (nearly 60,000 square feet), are construction/deconstruction, archaism, sex, war, subversion, melancholy and finally re-enchantment, a less-than-convincing attempt to end the overview of a devastating century on an upbeat note.
Indeed, some chapters in this epic narrative work better than others, and many viewers, struggling to see the forest for the trees, will be tempted to take them in as separate mini-exhibits.
One of the most subtle yet coherent is the grouping of sub-themes related to sex, home to Rouault's mirror-gazing young woman and a nearly p*rn*gr*ph*c portrait by Baltus, "Alice".
This is one area "which may reflect the fact that all the curators" - there are six - "were women," commented co-curator Camille Morineau.
"We were interested in the way the male gaze predominates in modern art, and that this is the century in which women criticized that gaze."
The 20-odd pieces in this section explore the image of women as brides and whores, with side excursions into themes of voyeurism, sacrilege, obscenity and transgression.
As is true with much contemporary art, many pieces are self-gazing reflections on the history of art itself, such as Marcel Duchamp's irreverent -- blasphemous to some -- mustachioed rendition of Leonardo da Vinci's Mona Lisa, mischievously titled "LHOOQ, La Joconde," a vulgar play of words in French.
Big Bang also includes categories of art not normally included in such exhibits, including books grouped in rubrics such as "The End of History" and "Doodles".
There is even a section devoted to the "Pleats Please" line of clothes manufactured by designer Issey Miyake, on hand this week for the opening.
Less persuasive are the sections devoted to war and revolution, which somehow seemed too academic and polite given the 20th century's terrible toll at the hands of ideology-driven terror.
Whether the exhibit achieves its aim of suggesting a new way of seeing the last 100 years of art and, in Morineau's words, of "showing the continuity from the 20th century to today," Big Bang is a rare opportunity to immerse oneself in the splendid chaos of our recent past.

 

[travolta]

thanks for the thread and the article it seems like a pretty amazing exhibition, totally my cup of tea ...i wish i was in paris to see it!

 

[sea of stitches]

oo, looks good. maybe i can convince my husband to go to cross the channel and visit paris when we go to england at the end of the year... thanks for the articles, ostelios and anna!!