‘Art for all’ is a motto I hold close to my heart, however last week I was led astray and accidentally ended up at the opening of one of the most decadent art openings of the year.
This may sound suspicious but it really was an accident. It all started when my boyfriend won tickets to a gig at the Chateau de Versailles. I’d never been there because of the huge crowds it attracts, so of course I couldn’t resist having a nose around Marie Antoinette’s old digs.
The band was N*E*R*D. Not my usual scene, so I was completely clueless as to what to wear. I finally settled on a pair of shorts over tights to try and look at least a bit ‘cool’. What I didn’t take into consideration was what one should wear to a palace.
I was intimidated enough by the grandeur of Versailles but when I started looking around at the fancy gowns and suits heading in the same direction, I started to realise that I was just a little underdressed.
We got to the door and announced ourselves and after receiving a look of confusion from the penguin-suited security guy we were hurriedly ushered in. We soon realised that we were not at the gig but instead the opening night of Takashi Murakami’s much talked about solo exhibition.
I was really impressed with the show, however I still can’t say if this is down to the artwork or the setting. The chateau is pure luxury, it’s like someone has vomited gold everywhere. It is gorgeous, but I guess if you were an 18th century revolutionary with no bread to eat you might have found it a little irritating.
Murakami’s exhibition has ruffled a few feathers itself, but this time it’s the traditionalists who’ve got the hump rather than revolutionaries. Murakami is a Japanese artist inspired by Warhol and Manga, so the thought of putting gaudy cartoon models of French maids next to frescos of battle defeats and scenes of classical mythology hasn’t gone down too well.
Personally, I think it works. The bits I loved the most were those from the last couple of years that had obviously been created with the exhibition in mind. The Yume Lion was one of them; a gold-leaf, grinning, magical feline. I love the way it looks in this room. If it wasn’t for all the security measures (I’m guessing to protect from angry vandals) it would take your brain a while to realise it was of a different time from its surroundings.
Yume Lion, translates as ‘Dream Lion’. You can find it in the Apollo room, which was named after the ancient Greek god of sun and created by the ‘Sun King’, Louis XIV who lived his dream by ruling France for 72 years. King Louis was often depicted with wide eyes and a huge curly mane, a comparison between this smiley cartoon lion and the smug king are irresistible.
When we finally found where the gig was we came up against another list. This time a lot of people were being turned away, but not us. Once inside we realised what all the fuss was about. We’d unintentionally waltzed into the VIP side of the stage, instead of the competition-winners party. Oh dear, what a shame?
It was straight out of Bonfire of the Vanities with haute couture and bling-a-plenty. This obviously added to my wardrobe anxiety. Receiving pitiful looks from everyone, including the artist himself, I decided I had two choices; leave or in an emperor’s new clothes-style, just imagine I was also wearing an amazing dress. I opted for option two and it seemed to work (with some help from the free champagne).
Being a VIP for the night was fun but it made me realise that the art gap is wider than ever. Although on the surface the exhibition looks as though it’s bringing the excess of Versailles into the real world, it’s in fact comparing 21st century art to the indulgence of the past.
Rather than bringing art to the people, Murakami’s aim, like Warhol’s, is to bring ‘low art’ to the rich. This approach has definitely worked for his sculptures but what about the after-party? That wasn’t quite so successful. When N*E*R*D came on stage and their dancer shook her booty in the direction of the VIP crowd, the awkwardness it created in the room was art that money can’t buy.
Photography credits
Takashi Murakami
Yume Lion (The Dream Lion)
2009-2010
Aluminium et feuilles d’or
191 x 127 x 110 cm
©2009-2010 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved.
photo : Cedric Delsaux - Salon d’Apollon / Château de Versailles
"The Imaginary Historian"
2 comments:
Sounds like a party...
One thing I'd like to mention is that the decadence of the olden days have led to some of the world's most magnificent pieces. Michael Angelo's Sistine chapel, the archtictural wonders of the Cologne Cathedral and the list goes on. While putting ourselves in the shoes of the poverty stricken villagers of the time would have us revolted at the way the countries' treasures were put to use, we can't deny the beauty we have been lucky enough to inherit as a result.
Today, such decadence and three hundred year projects such as intricate palaces and cathedrals are rare because of the inherent inequality and decadence you described. I am glad, though, that we are able to see that ability of man in the works of the past...although the cost may, arguably, have been to great.
Excellent post....waiting for to hear about the next party you crash ;-)
Thanks, you're right decadence has brought us a lot of beauty. I think the uncomfortable thing about the Chateau de Versailles was that it wasn't shared with the people like a chapel or cathedral and because nobody ever saw inside, rumours made it sound even more luxurious and wasteful than it actually was. Today, of course it's open to the public, although it's not cheap to get in! I will definitely keep you posted on any future art party crashing :-)
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