Richard Serra @ MOMA


Sequence, 2006, op de eerste verdiep… En dan te bedenken dat bij het van Abbe de begane grond al ernstig onderstut moest worden.

“Een beeld is iets dat in de weg staat”, “groot is goed en veel is lekker” en “de kracht van de herhaling is de kracht van de herhaling”. Wat dat betreft gooit Richard Serra hoge ogen.

NYT is lyrisch:

“A filmmaker I met in Bilbao, Spain, wandering through Mr. Serra’s sculptures there, likened the experience to movies. He thought the paths Mr. Serra devised within the works, between curving walls of steel, which suddenly jog, then arrive, unexpectedly, at cavities or enclosures, were like plot twists with surprise endings. Except there are no beginnings or endings in the sculptures. A novelist who has written about the Holocaust said the high, curving steel walls leaned over him threateningly, leading him until he became disoriented and lost, into what he felt were penned-in spaces, bringing to mind a concentration camp. The art scared him, he said, but he also loved it.

Kant called this feeling “the terrifying sublime,” which is “accompanied by a certain dread or melancholy.” Awe and fear mingle with pleasure.”[…]5088&

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