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"Huupi's treatment of colour reveals her source of inspiration in creating this series – the Mexican architect Luis Barragán (1902–1988), whose few completed buildings in Mexico are undoubtedly architectural gems. The design of his own home has been widely recognised and the building currently functions as the architect's house museum." – Mary-Ann Talvistu "Without light, there would be no colours" (KUNST.EE 4/2021)


With and without Beuys

Margaret Tali (1-2/2011)

Margaret Tali analyses the way critical practices in art are successfully switched to the national canon of art history.
The different roles of Joseph Beuys (1921–1986), as well as his ideas and interpretations of them, have intrigued several generations of artists and theoreticians. Beuys, who was known as a shaman and charlatan during his lifetime, has now become a fascinating example, showing how practices of performance art are incorporated into the art historical narrative and what can happen to them there. I will focus on this question in my review of the retrospective exhibition of Beuys’s work, Joseph Beuys – Parallel Processes,held recently at Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Also, it is interesting to note here that the process of reinterpreting Beuys in the form of voluminous retrospectives has started only recently, no less than a quarter of a century after the artist’s death. However, new narratives not only depend on the ambitions of curators. Quite the opposite: decisions are made in dialogue with the capitalist museum system, national historical discourse and numerous private collectors.
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