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ICONE - Holiday Inn

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Hervé Trioreau

Inscrit le: 25 Aoû 2006
Messages: 8

MessagePosté le: Mercredi 30 Août 2006, 11:46    Sujet du message: ICONE - Holiday Inn Répondre en citant

The Los Angeles County Museum On Fire

Edward Ruscha
Oil on canvas
53 1/2 x 133 1/2" (135.9 x 339.1 cm)
Hirshhorn Museum and Sculpture Garden
Smithsonian Institution
Washington DC
Gift of Joseph H. Hirshhorn

The Museum as Muse: Artists Reflect is an intellectually provocative and engaging exhibition that explores modern and contemporary artists’ attitudes towards the museum. The exhibition, which originated at The Museum of Modern Art in New York and will have its only other U.S. showing at MCASD in San Diego, surveys the many ways in which artists have responded to the museum as an institution – examining its concepts and functions, commenting on its nature, exploring its relationship to the art it contains, and incorporating aspects of the museum into their own art. Organized by Kynaston McShine, MoMA’s Senior Curator, Department of Painting and Sculpture, the exhibition features over 40 artists and includes paintings, sculptures, photographs, drawings, prints, videos, sound recordings, and installations. Most of the work is drawn from the 20th century, with an emphasis on contemporary art.

Installed in MCA’s La Jolla galleries, the exhibition assays several themes. It is not meant as an exhaustive survey of notable museum-related art, nor to establish a single theoretical basis for the various responses of the artists included. "Rather," writes McShine in his catalogue essay, "recognizing the variety of motives and interests that artists have brought to the subject, this exhibition is designed to illuminate the approaches taken by artists and discuss the aspects of the museum’s life on which they have chosen to settle."

Edward Ruscha envisions the destruction of a prominent museum in his fatalistic painting The Los Angeles County Museum on Fire. On the occasion of this painting's first exhibition, at the Irving Blum Gallery in Los Angeles in 1968, Ruscha announced via telegram that the fire marshal would be on hand to see "the most controversial painting to be shown in Los Angeles in our time." The painting was exhibited behind a velvet rope, as if to hold back an angry crowd. Perhaps a response to the unpopular and unfriendly building designed in 1964 by William Pereira, the painting also spoke to an uproarious period in which artists felt increasingly alienated from cultural institutions.

Los Angeles artist Ed Ruscha has produced paintings, drawings, prints, films, and books that merge remarkable graphic skill and vernacular language with a witty Pop Art sensibility. In the early 1960s, impressed by the works of Jasper Johns and Robert Rauschenberg, Ruscha started producing word-based artworks, creating images out of words depicted as three-dimensional forms. He also made some of his best-known compositions portraying icons of the Los Angeles landscape, such as the Twentieth Century-Fox trademark or the famous Hollywood sign. In "The Los Angeles County Museum on Fire," Ruscha presents the building complex as it looked in the mid-1960s. As in an idealized architectural model, the museum is removed from its neighborhood and set against an anonymous background. In similar conceptions, a 1964 canvas features the word "damage" in flames, and paintings of a Standard Oil gas station are rendered in flaming and nonflaming versions in 1965 and 1966.

This painting coincided with the new museum's opening in 1965. At its unveiling, many in the Los Angeles art community were critical of the museum and its architecture. Ruscha's tongue-in-cheek comment on the institution is characteristic of the strong strain of irony that runs through his work.

The Sarajevo Holiday Inn on Fire

Zmaja Od Bosne 4
Bosnia & Herzegovina 71000

Before the siege the Sarajevo hotel capacity was 49,000 beds, but during the long siege the Holiday Inn was the only functioning in the city.

The hotel was built during the Winter Olympic Games. On April 6, 1992 it was the location of the SDS terrorists who were shooting at the Sarajevo citizens gathered in front of the Parliament. As foreign journalists were staying at the hotel it was less frequently shelled than the surrounding buildings.

Nevertheless a great number of rooms was burnt or destroyed. It was one of the few hotels in which the most prized rooms were those without a view. A view of the mountains meant a view of a snipers' nest. During the siege the rule was: If you see him, he sees you The hotel took in guests all through the siege.

The Holiday Inn in Sarajevo, where many foreign journalists stayed while covering the war in the early 1990’s.

The Holiday Inn in Sarajevo was built to house athletes in the 1984 winter Olympic Games. A decade later, it was the only functioning hotel and shelter for reporters covering the war.

The aging yellow hotel became something of an ICON, its battered façade appearing regularly on television screens around the world — a symbol of the bloody conflict that tore Bosnia and Herzegovina apart.

In 2004, on its twentieth birthday, USAID helped privatize the Holiday Inn. The new owner, an Austrian consortium, is repairing the existing building and adding a 22-story tower with rooms, a conference center, shops, restaurants, and a parking lot. It will also hire 800 employees.

The Bosnian government tried to sell the hotel in 2001, but the prices offered were too low and there were suspicions of corruption. USAID stepped in to help the government get a better deal. USAID conducted financial projections, prepared information to attract potential buyers, and participated in sales negotiations that lasted nearly a year.

Fahrudin Tafro, the manager of the hotel’s financial department, remembers when the bright yellow, square building that still bears many bullet holes and shell marks was under constant attack. The electricity ran only occasionally, to allow chefs to prepare meals and reporters to write and transmit stories to editors abroad.

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