ANNE-MARIE SCHNEIDER THE FIRST TIME IN SPAIN

Exhibition photo

 

 

Anne-Marie Schneider born in Chauny (France) in 1962, began her training as a violinist, this was the master pillar on which her work rests. The work of this French artist, is characterized by its particular way of relating to the world. Their commitment to their environment is reflected in their minimalist drawings, which in turn are a reflection of their day to day. Therefore, the information that reaches the viewer, is more personal than the artist-spectator relationship has accustomed us.

 

 

Sans Tire [Untitled] 2012. Acrylic on canvas

 

 

The improvisation, marks the reference of musical styles like the Jazz and the dance of S.XX, this contrasts with the precise gesture of many contemporary artists to Schneider. With many of her works, the artist fuses these two characteristics by appropriating them and creating a style of her own. From this graphic improvisation, it extracts the movement of the intensity of the strokes, the vibration and the arrangement of the colors.

 

 

The beautiful and the beast the pierced heart of the beast [Untitled] 2009. Oil on canvas

 

 

This somewhat peculiar and sometimes difficult to read artist is very present the figure of the narrator, her stories and legends of the popular imagination show the other side of the tradition through games and repetitions. Narration is an essential resource for understanding his work because it is a basic form of communication and expression. The exhibition, in the Reina Sofia Museum, proposes a tour of the evolution of her work, from the eighties until now.

 

The linear and the anti-pictorial sobriety are based on the scene in which color takes center stage. Already in the middle of the ninety to the present both forms alternate. In her early works, the artist promotes the use of color only as a filling of the line. These practices are observed mainly in his films in which the landscape predominates.

 

 

Sans Titre (Syphon) [Untitled]. Acrylic on paper

 

 

From her interest in color, he derives her work towards blue monochromes. Her series of "the beautiful and the beast" gathers all these appreciations of the artist exposed above. The large amounts of pigment that give the collection a dense finish, are the perfect summary of this particularly descriptive artist. You can enjoy the exhibition until March 20 at the Sabatini Building, Floor 3.

 

 

 

Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.