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    GUMAGUARmoderní :: postmoderní :: současné umění
    PASHWAKA
    PASHWAKA --- ---
    ENTER: krot se hochu, urcite mam i prava davat banany...
    nikoho uz tahle diskuze nezajima, vratme se k ukazovani kumstu
    ENTER
    ENTER --- ---
    :)) kreténi !!! jsem to teď půl hodiny hledal se strachem v očích, že přišel erase
    PASHWAKA
    PASHWAKA --- ---
    muzu!
    NOIK
    NOIK --- ---
    :))
    PASHWAKA
    PASHWAKA --- ---
    NOIK: i moje? a muzu menit i jmeno klubu? :D:D:D
    KHALAVERA
    KHALAVERA --- ---
    no já počítal s tvojí nevypočitatelností .)
    NOIK
    NOIK --- ---
    ale hovno-je to doména i tvoje, pašáka a _era...a odteďka i atomica a teapoda
    KHALAVERA
    KHALAVERA --- ---
    to je noikova doména :)
    TEAPOD
    TEAPOD --- ---
    A zničit a spálit?
    ATOMIC
    ATOMIC --- ---
    jo mimochodem co vyměnit obrázek v záhlaví?
    ENTER
    ENTER --- ---
    KHALAVERA: mmm ... jak nečekané
    SUOTAM
    SUOTAM --- ---
    KHALAVERA: blesk je fakt dobrej
    VYKUTALENA
    VYKUTALENA --- ---
    chantal joffe jedeeee
    MIKRON
    MIKRON --- ---
    KHALAVERA: to je fantastický!
    PASHWAKA
    PASHWAKA --- ---
    KHALAVERA: ja ten "blesk" miluju
    UNCLEAN
    UNCLEAN --- ---
    KHALAVERA: hej tak tohle me ted rozsekalo, dik !
    PASHWAKA
    PASHWAKA --- ---
    uryvek z:

    Paul McCarthy's 40 years of hard work

    ...

    In McCarthy’s kitchen we discuss the physical invasiveness and looming danger of the enormous installation The Underwater World. McCarthy who has periodically made a living as a construction worker and knows about the forces involved, says that many museum visitors today don’t realise that they need to be cautious when they approach an enormous mechanical work such as this. I mention Chris Burden’s monumental sculpture with a balancing steam roller, and some of the works by Bruce Nauman and Richard Serra, and ask if he believes these overwhelming sculptures which evoke physical sensations are typically American. McCarthy refutes this and insists that he is not a macho artist. But he relates a short anecdote about an encounter with a sculpture by Richard Serra, and the gist of the story, I believe, has some relevance to his own work:

    In an almost empty museum McCarthy enters a square gallery with doors at both ends. From each corner of the room a mighty iron sheet juts out diagonally to the middle of the gallery. They don’t quite meet but leave a relatively narrow passageway. In the gallery he meets one other visitor, who sniffs and shakes his head disdainfully, looks at McCarthy and asks, “Is this supposed to be art?” McCarthy replies, “What I find interesting is that it appears to me that the only thing holding these enormous iron sheets upright is the corners of the room.” The man stops dead, regards the iron sheets that probably weigh several tons, sees how they are wedged into the corners of the gallery – turns on his heel and runs out. “I think he got it!” McCarthy chuckles.

    Perhaps this physical reaction, the realisation that the work before us is potentially dangerous – is a veritable sign of actually having understood the work – and perhaps this also applies to the feelings of disgust, terror and laughter – that most of us experience immediately when confronted with many of McCarthy’s works. While being redolent with art historic influences and current political references, more than anything they hit you right in the guts.


    http://www.modernamuseet.se/v4/templates/template3.asp?lang=Eng&id=3115&bhcp=1
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