Τρίτη, 28 Ιουνίου 2016

Μια κριτική ματιά και δράση για την έκθεση του Ai Wei Wei στο Κυκλαδικής τέχνης (από την Άννα Λιόλιου)

Εδώ σε αυτήν την ομάδα ανθρώπων, αγαπάμε την Τέχνη και αγαπάμε και την Δράση.

Η μικρή μας εικαστικός Άννα Λιόλιου, ιδρυτικό μέλος του Δικτύου, έκανε μια πολύ ενδιαφέρουσα Δράση λίγο πριν ταξιδέψει στο νησί της Γαύδου για να μελετήσει τη φυσιολογία και την ιστορία του νησιού με σκοπό να δημιουργήσει ένα νέο εικαστικό προτζεκτ.

Όπως θα διαπιστώσετε ασκεί κριτική για τον τρόπο που διοργανώθηκε η έκθεση του Ai Wei Wei στο Μουσείο Κυκλαδικής Τέχνης, για τον αποκλεισμό των γυναικών από τις συμμετοχές των καλλιτεχνών, κ.α.

Θέλουμε να επαινέσουμε την κριτική ματιά της και το θάρρος της.
Παρακάτω θα βρείτε κάποιες φωτογραφίες και το κείμενό της στα αγγλικά, που δημοσίευσε στο προσωπικό της μπλογκ. (περισσότερα :ΕΔΩ )







Impromptu Response and Action to Ai Weiwei show at Museum of Cycladic Art, Athenss.

The Cycladic Museum of Art is my favorite museum. 

On Mondays people can visit for a reduced prices of 3eu instead of 7eu. 

Unemployed and students get in for free. 

My friend and I walked in to view the show that an internationally acclaimed artist made, that reflects both my very own culture and blends other very important global issues—and a very trendy one, the refugee crisis—- 
which happens to be felt very intensely in my country. 

Cool, so Ai has chosen to make a photo exhibition, by photographers that live on the island of Lesvos and were documenting the refugee waves since day 1 exhibiting the arrival or the transition of refugees from sea to land. 

Do I think it’s important to document this important event and share it with the world so it is known? Yes. 
Do I think it’s problematic? Absolutely. 
Why? Because this has attracted many organisations and individuals that not simply seek in inspiration but take advantage of the popularity of the situation for their own gain. 

And I guess this is why I was most annoyed. 

Why should we have to pay to view an exhibition which was directly inspired and brought to life because of that very popularity of the refugees. 

Why should I pay when it is I am involved in actually helping the refugees voluntarily (and I am unemployed!) rather than just snapping them. 

Why for particularly Ai Weiwei’s show, a foreign, very successful artist (rich too) I was required to pay 7eu. 

“10% go to this and that NGO” quick to say and with ease said the guard–
oh that, then of course, let me open my purse quick and with ease to pay.
 As if 10% is how much? 70 cents. How is the rest distributed? 

Then, with excitement the guard explains how Ai selected Greek photographers that were on the island and experienced the refugees for the longest, therefore have had a better understanding. Fair enough. 

They are all from a local photography club. My response/rhetoric question writes: “Your club doesn’t have any female photographers?”
The response would be probably not. And that happens. 
But we should ask. Why does it happen. 
Why aren’t females out there. It is problematic. 
And it is only like so because it feels like so. 

Of course there are many shows whose participants happen to be all male, but somehow the maleness of it is not signified. 

In this case, the maleness was so strong and highlighted it was annoying.
So annoying that I had to document my disturbance. 

Which I also think is a very successful result of a successful exhibition. 
In that sense, I found it very successful despite my general negativity towards it. Not that I liked the show or the pieces. 

My strong negative enduring reaction is what I liked- 
I liked that it gave me some real feelings, strong enough for me to invest time in responding to it, worth my attention, worth my time. 
It is successful in the sense that it has created a platform so open,
to talk about certain issues, challenge hierarchies, investigate art today and the role of the artist- the thin line between all the issues.

Special thanks to my friend Eftychia Petsikari for being a photographic and psychological support to my reaction. 

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