Jan 17 thursday

it’s a beautiful foggy morning, a little depressive as i observe lone figures murky and indistinct lost in a white blanketing cloud.  So its perhaps fitting to start the ‘art walk’ with a work by Maurizio Cattelan.

“It’s a hallmark of bravery to own a Cattelan sculpture,” says Amy Cappellazzo of Christie’s. “It usually signals an ambitious collection.” http://moreintelligentlife.com/content/artview/against-odds

Maurizio Cattelan, Him, 2001, Installation view: the work presented at 14 Próżna St. in Warsaw, being a part of the exhibition: Maurizio Cattelan, Amen, Centre for Contemporary Art Ujazdowski Castle in Warsaw, PHOTO: ZENO ZOTTI<br /><br /><br /> COURTESY OF MAURIZIO CATTELAN’S ARCHIVE

Him.  Maurizio Cattelan 2001, Warsaw

that’s Hitler apparently kneeling down in prayer.

it is undeniable that the war had a huge impact on art – and I’m only just rediscovering this period-specfic art and how it can be a sort of repository of sentiment both public and personal.  This makes me interested in post-war artworks in SouthEast Asia, and maybe even in singapore.

“Apocalypse in Lilac: Capriccio” (1945), Marc Chagall
London Jewish Museum of Art.

there is a tragic personal story of how Marc Chagall saw the war – the crucifixion of Christ overseen by a storm trooper wearing an inverted Nazi arm band, the falling clock running backwards.  Chagall and his wife fled occupied France in the 1940s to America.  unfortunately his wife, Bella, died due to a lack of war-time medical supplies.

it made me very interested in the significance of color during the holocaust:

 Bible Researcher
Habitual Criminal
Political Prisoner

these were the colors of bands worn by prisoners in the concentration camps.


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