Klimt, Hundertwasser et Schiele aux Baux de Provence.
” Klimt and Vienna, a century of gold and color
The show “Klimt and Vienna, a century of gold and color” takes a look back at the history of Austrian painting, and more specifically at Imperial Vienna at the end of the 19th century, a period that marked the beginning of contemporary painting. Klimt, one of the great decorative painters, inspired many artists, including Egon Schiele and Fritz Hundertwasser, who naturally accompany Klimt in this luminous, spellbinding show. The photographs in this show are not intended to be a faithful reproduction of the artistic projections, but an attempt to transpose the sensation of immersion in the artists’ works. In my approach, the viewer is not looking at a painting, but is an integral part of the artists’ work, immersed in both images and sound.
Original show by Gianfranco Iannuzzi, Renatto Gatto, Massimiliano Siccardi. Musical collaboration by Luca Longobardi.
Show at the Carrières des Lumières site (Les Baux de Provence). Creation CULTURESPACE.
GUSTAV KLIMT (Baumgarten, 1862 – Vienne,1918)
EGON SCHIELE (Tulln an der donau, 1890 – Vienne, 1917)
FRIEDRICH HUNDERTWASSER (Vienne, 1928 – Queen elisabeth2, 2000)
Baux de Provence
The village of Les Baux de Provence, located in the Alpilles mountain range, is now classified as one of France’s most beautiful villages. The name Baux-de-Provence comes from the Occitan baus (‘baws) according to the classical standard, in Provençal baus according to the Mistralian standard, meaning “overhanging”, “cliff” or “rocky escarpment”. In 1958, Les Baux became Les Baux-de-Provence. In Occitan Provençal, the commune is called Lei Bauç de Provènça, or Li Baus de Prouvènço according to Mistral. Bauxite, an aluminum ore, takes its name from this commune, where it was first mined, but Baux-de-Provence is best known for its limestone quarries. Tradition has it that Dante, captivated by such a setting, drew inspiration from it to describe his Inferno in the Divine Comedy. It was here that Frédéric Mistral set one of the chapters of Mireio, and Jean Cocteau found the setting for his film Le Testament d’Orphée. The interior of the quarry site lends itself well to the sound and light shows imagined by Gianfranco Lannuzzi. These are immersive shows in which the spectator is at the center of the spectacle, bathed on all sides by the projections on the walls and the accompanying music. The closest we could come to describing these art shows would be a pictorial and musical enchantment. Projected onto almost all the quarry’s walls and floor, the enchantment begins from the very first second.
Baux de Provence (France) – 2014
