The visit of the Kunsthaus is the access to several exhibitions of the German Thomas Schütte.
Bregenz The irony, the euphemism, the pragmatism or even the provocation always resonate in Thomas Schütte's answers. He had a whole cellar complete with female characters and took the most screaming. They are gathered on the ground floor of the Kunsthaus. The room is extremely detailed, but very compact. "All the characters have a private background, but I'll be careful not to tell them." A rust-colored torso comes off. Apart from dismemberment, injuries are visible, suggesting a martial treatment. And yet, one of the most beautiful references to Brancusi resplendent on our face and a flower is glued to the hairline. "The figure has a name," he reveals, nothing more. Who has a little idea of the history of art discovered in the Torsi quotes of classical modernism. "I wanted a Picasso head, a Matisse butt and a Maillol leg, and I've been giving it for months," he commented on one of the characters. On the wall, works from the "Flag" and "Fake Flag" series delimit the space and evoke many other stories that each of these brilliant, dull or seemingly stone figures can tell.
Why the national colors, which seem to be a link with the concrete art or a defensive posture, seem washed out, we can get together. This is not difficult. The viewer has the same feeling when he looks at his large sculptures, these "men in the wind" patinated bronze, which are stuck in the mud or are already melting. These are recent works whose artist has not discussed political connotation. In any case, it is for the moment. With "The Man with the Flag" and "The Faceless Man", works by Thomas Schütte are also present in the urban area of Bregenz. A good decision, the works of the award winning German artist (born in 1954 in Oldenburg) belong to the people. For the flag half lowered or for the man who is holding his face in his hand, no explanation is necessary. As ironic as it may seem, Thomas Schütte can speak of chance. The numbers are immediately touching because of their sharpness, but they never seem flat. A grave is supposed to symbolize the acceptance of its mortality.
Half a century ago, Schütte won the Venice Biennale Prize and was several times present at the Kassel Documenta, which means that he is still present with the group of figures "The Strangers" . She makes a strong statement again.
The ideal place
In addition to the political content that Schütte carries with his portraits of musicians, the Kunsthaus Bregenz is an ideal venue for this presentation. Many architectural models mark the intersection between architecture and art. "Architects are sometimes jealous of what I am allowed to do, anything they can not do," he said in an interview with the UN. The experience of space can be imagined from models or woodcuts, or can be relived, a library having been recreated for entry. Before that, the monumental sculpture "Third Animal" confirms that Schütte reconciles popularity and quality. The child in the human thus opens access to controversial topics.
"Architects are sometimes jealous of what I am allowed to do, of what they are not allowed to do."
Opening on July 12th at 7pm, open until October 6th, until August 31st from 10am to 8pm, then from Tuesday to Sunday from 10am to 6pm and Thursday at 8pm: www.kunsthaus-bregenz.at