Introduction
Art exhibitions are the places, which will be interesting to people of any age and any gender any time. “A natural effect of the Museum exhibition will be to lead the public to enquire why it is that objects of ‘museum quality’ are to be found only in Museums and are not in daily use and readily obtainable.” (Coomaraswamy, 13) Without any doubts, each exhibition presents something new and extraordinary to the lives of millions of people.
One of such exhibitions, which impressed me a lot, is Projects 89 by Klara Liden. This exhibition was opened February 25, 2009, and will be closed June 8, 2009. In spite of the fact that it is not much time to share her creation with lots of people, this exhibition has already impressed someone. The ideas of rebellion, desire to act and demonstrate personal vision and comprehension of the events – this is what motivated Klara to present this modern art exhibition.
Discussion
Art and Enthusiasm of Klara Liden
One French Thomistic philosopher, Etienne Gilson, admitted that it was better to turn back to pictorial philosophical approach in order to demonstrate how paintings and, at the same time, other art masterpieces could easily demonstrate the concrete act of existence. (Gilson, 7)
This young Swedish artist with her exhibition under consideration is full of enthusiasm. Can it be that a big blank box, placed at the center of the room, turns out to be rather attractive for many people? At the Museum of Modern Art, this event gathers more and more people every day. This box cannot stay monumental for a long period of time – it would be not that interesting to observe, this is why Klara Liden makes this creature work, shelving.
And, finally, it is necessary to admit that modern art cannot forget about innovations with various video and audio additions, so, in the corner on the floor, there is a video monitor, where short video is shown during three and a half minutes. The peculiar feature of this video is Liden’s presence on it. She stands on the Manhattan bank of the East River and skips little stones across the water. To my mind, such choice of the video is not casual.
These stones in the water may symbolize a life that lasts not for a long period of time, but its movements are really brilliant and attract the attention of many people, and the consequences of these movements, the traces on the water, excite again and again. Liden’s exhibition lasts during a certain period of time, and, as the traces in the water, left by the stone, her work should be kept in mind for a long period of time.
What Newspapers Write about the Exhibition
Not many magazines and newspapers are ready to describe the events, which happen now in the Museum of Modern Art, however, New York Times presents a captivating article about this artist and her abilities to create unbelievable things to the viewer. Holland Cotter writes about the exhibitions the following:
The idea, as I read it, was to keep a piece of the show outside the art space and in the world, which meant incorporating the world – whoever happened to sit on the bench – into the show. Over the years she has negotiated similar transactions between art and life in other places, in other ways. (Cotter, 2009)
So, people, who do comprehend the essence of art and the ideas, which artists want to represent in their works, will certainly understand that this box of papers is not a simple gathering of different sheet of papers. It is a history that is closely connected to people, their lives, and their future.
Other articles in newspapers and magazines like to describe this exhibition and share the ideas of what they see there: “architectural interventions and installations by cannibalizing existing structures and materials, such as cardboard, corrugated metal, drywall, wood, and carpet remnants.” (NY Art Beat)
Any piece of art may be compared to each other. Is it possible to relate poems and museum exhibitions? To my mind, it is quite possible. For example, Jacques Maritain told that “to one degree or another, even in the most obscure poems, even when the poet turns his back completely on intelligence, the intelligible sense is always there.” (Maritain, 261)
Almost the same happens during the exhibition by Klara Liden: she makes an attempt to forget about the reasons and consequences, and create something untraditional, but taking into consideration some modern features and innovations. This is why her work is something really intelligent and true.
Conclusion
People should have a chance to forget about their current problems and affairs, and entertain for some period of time. Current exhibitions are the places, where people can do it with ease. Imagination of artists and their ideas are usually quite different and amazing. Klara Liden is a Swedish artist, who presents her exhibition Projects 89 at the Museum of Modern Art in New York. Her work and video file turn out to be really interesting and unusual for our times, this is why lots of people are eager to visit this exhibit again and again.
Works Cited
Coomaraswamy, Ananda, K. Cristian and Oriental Philosophy of Art. Courier Dover Publication, 1956.
Cotter, Holland. “Cutting Modernism’s Big Cube Down to Size.” The New York Times. 19 Mar. 2009. 16 Jun. 2009. <https://www.nytimes.com/2009/03/20/arts/design/20lide.html?_r=1&scp=2&sq=Projects%2089:%20Klara%20Liden&st=cse>
Gilson, Etienne. Painting and Reality. Meridian, 1959.
Maritain, Jacques. Creative Intuition in Art and Poetry: Abdrew Mellon Lectures in the Fine Arts. Princeton University Press, 1977.
NY Art Beat, “Projects 89: Klara Liden” Exhibition. 16 Jun. 2009. <http://www.nyartbeat.com/event/2009/9B4A>