{"id":547,"date":"2014-10-25T20:46:47","date_gmt":"2014-10-25T20:46:47","guid":{"rendered":"http:\/\/www.laurenceaegerter.com\/newsite\/?page_id=547"},"modified":"2015-03-09T21:45:48","modified_gmt":"2015-03-09T21:45:48","slug":"anna-van-leeuwen","status":"publish","type":"page","link":"https:\/\/laurenceaegerter.com\/artwork\/anna-van-leeuwen\/","title":{"rendered":"Anna van Leeuwen"},"content":{"rendered":"
(English)<\/em><\/address>\n
\u00a0<\/address>\n

Hermitage, the Modernists (2011)<\/strong><\/h4>\n

Anna van Leeuwen<\/em><\/p>\n

Laurence A\u00ebgerter blends in Hermitage, the modernists the new and the old, photography and painting, and the familiar and unfamiliar, and does this without creating dissonance. In her earlier series Le Louvre and The Apparatus the composition \u2018worked\u2019 because the spectator seemed to become one with the painted scenes. In contrast for the Hermitage she chose modernistic paintings whose artists freely experimented in their use of the rules of perspective, shadow effect and depth. The resulting art work is a new experiment in form, charged with tension and suggestion, alienation and surprise.<\/p>\n

In a museum paintings are viewed and contemplated in silence. What you want most as a viewer is to be there alone, so that you can immerse yourself in the artwork. Staring at a masterpiece, you all too gladly run the risk of being sucked into vertigo. To undergo such an experience you would have to look long enough, so that you can see the painting detached from reality, detached from the wall and frame, from the sophisticated artificial lighting on the artwork, detached from the dry cough of the museum guard. You try to isolate the painting, neutralise the environment, and the museum with its sterile white walls is intended to achieve that same effect.<\/p>\n

When Laurence A\u00ebgerter places a spectator or object between us and the painting, she is violating this idealised museum experience. Reality jumps in, gets in the way. Her intervention reminds one of the museum visitor who giddy and dizzy attacks the canvas, an aggressive and iconoclastic act. But instead of reality swallowing up the painting, the reverse happens here: connected through the photograph a new artwork is formed.<\/p>\n

The \u2018reality\u2019 that jumps in between the painting and the spectator is in one part of the series a museum visitor and in the other an object.<\/p>\n

The photos show a strange intimacy coming to life between the museum visitor and the painting. We are witnessing a t\u00eate-\u00e0-t\u00eate, in which a secret is shared, which we surreptitiously eavesdrop on when we view the photo.<\/p>\n

In the photos in which A\u00ebgerter placed an object in front of a painting, she plays with the curiosity of the spectator and the act of revealing or \u2018uncovering\u2019 the artwork. In this way a painting of a naked woman with a hat, which has been covered by transparent ribbons, makes us as spectators voyeurs. Even if we have seen a painting hundreds of times, the object seems to invite us to take a better look or, in the case of Kazimir Malevich\u2019s Black Square (1913), a deeper look.<\/p>\n

The desire to record artworks shows an eagerness and hunger that every (amateur) photographer knows. There is not such a thing as the ideal reproduction of a painting. There is always that uniqueness which a photo can only barely indicate, just as in Plato\u2019s cave we can only rely on the shadows cast by ideas on the walls.<\/p>\n

Where in this attempt at photographic appropriation we normally leave artworks untouched, but it seems that, at the very moment A\u00ebgerter captures them, the paintings are transformed. In each composition a unique moment is recorded that would make any reproduction of that same painting look pale and insignificant.<\/p>\n<\/div><\/section><\/div>

(Nederlands)<\/em><\/address>\n
\u00a0<\/address>\n

Hermitage, the Modernists (2011)<\/strong><\/h4>\n

Anna van Leeuwen<\/em><\/p>\n

Laurence A\u00ebgerter mengt in\u00a0Hermitage, the modernists<\/em>\u00a0nieuw en oud, foto en schilderkunst, het herkenbare en het onherkenbare, zonder dat enige dissonantie ontstaat. Waar bij haar eerdere series\u00a0Le Louvre<\/em>\u00a0en\u00a0Het Apparaat<\/em>\u00a0de voorstelling kon \u2018kloppen\u2019 doordat de toeschouwer in de geschilderde sc\u00e8nes leek op te gaan, koos zij in de Hermitage voor modernistische schilderijen, waarin vrijelijk is ge\u00ebxperimenteerd met de regels van perspectief, schaduwwerking en diepte. Het resultaat is een nieuw vormenexperiment, geladen van spanning en suggestie, vervreemding en verrassing.<\/p>\n

In een museum worden schilderijen in stilte bekeken. Het liefst zou je als toeschouwer alleen zijn, om de voorstellingen op je in te laten werken. Starend naar een meesterwerk, loop je maar al te graag het risico opgeslokt te raken in een vertigo. Voor een dergelijke ervaring moet je lang genoeg kijken, totdat je het schilderij los kunt zien van de werkelijkheid, los van de muur, de lijst, het uitgekiende kunstlicht dat er op valt, de kuch van de suppoost. Je probeert het schilderij te isoleren, de omgeving te neutraliseren, waar het museum met zijn steriel witte muren je maar al te graag bij helpt.<\/p>\n

Wanneer Laurence A\u00ebgerter een toeschouwer of object tussen ons en het schilderij plaatst, doet ze deze ge\u00efdealiseerde museumervaring geweld aan. De werkelijkheid springt tussenbeide. In deze daad doet ze denken aan de museumbezoeker die in zijn duizeling het doek te lijf gaat, een daad van agressie of ontheiliging. Maar in plaats van dat de werkelijkheid het schilderij opslokt, gebeurt hier het omgekeerde: samen gefotografeerd ontstaat een nieuw kunstwerk.<\/p>\n

De \u2018werkelijkheid\u2019 die tussen schilderij en toeschouwer springt is in een deel van deze serie een museumbezoeker, in een ander deel een object.<\/p>\n

Tussen de museumbezoeker en het schilderij ontstaat op de foto\u2019s een vreemde intimiteit. We zijn deelgenoot van een t\u00eate-\u00e0-t\u00eate, waarin een geheim wordt gedeeld, dat we heimelijk \u2018afluisteren\u2019 door de foto te bekijken.<\/p>\n

In de foto\u2019s waarop A\u00ebgerter een object voor een schilderij plaatste, speelt zij met de nieuwsgierigheid van de toeschouwer en de onthulling van het kunstwerk. Zo maakt een schilderij van een naakte dame met een hoed, dat is afgedekt door transparante linten, ons als toeschouwer tot voyeur. Zelfs als we een schilderij al honderden malen hebben gezien, lijkt het object een uitnodiging beter te kijken of in het geval van\u00a0Zwart vierkant<\/em>(1913) van Kazimir Malevitsj, dieper te kijken.<\/p>\n

De drang kunstwerken vast te willen leggen, duidt op een bepaalde hebberigheid, die iedere (amateur)fotograaf kent. De ideale reproductie van een schilderij bestaat niet. Er blijft altijd dat unicum, waar een foto maar flauwtjes naar kan verwijzen, zoals we volgens Plato in de grot ons slechts kunnen behelpen met de schaduwen van de idee\u00ebn.<\/p>\n

Waar we normaal gesproken de kunstwerken bij deze poging tot fotografische toe-eigening onaangedaan laten, lijkt het alsof de schilderijen in het moment dat A\u00ebgerter ze vangt, veranderen. Zo is in elke compositie een uniek moment vastgelegd dat alle inwisselbare reproducties van hetzelfde schilderij doet verbleken.<\/p>\n<\/div><\/section><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":27,"comment_status":"open","ping_status":"closed","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-547","page","type-page","status-publish","hentry"],"yoast_head":"\nAnna van Leeuwen - Laurence A\u00ebgerter<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laurenceaegerter.com\/artwork\/anna-van-leeuwen\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Anna van Leeuwen - 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