I will no longer have time to lie down here and write about this must for my Christmas holidays. In the Lisbon rush, between museums and galleries (well, and not only...), here I stopped in wonder: will it still be open? This is “ The Greeks. Treasury of the Benaki Museum ” at the Calouste Gulbenkian Foundation. Well, if I've already grumbled below about the iconological production that much of contemporary art wants to assume - perhaps my ignorance, perhaps insensitivity, but so many times I need a kid to exclaim “ the artist goes naked ”. I confess my intellectual irritation and sentimental emptiness when faced with a guy who puts wire circles on the wall and says - pay attention, has to say - that they mean something (in this case the borders of the current world), which makes me sigh when someone Do you think that a work of art explains itself to a final point (it is framed, it gives clues, it is interpreted, and with all this also reducing the freedom of those who look/think, but is it determined?). All of this is to say that the irritation with Gulbenkian - last June was a pile of sand on the ground, frankly the bourgeoisie have already been frightened enough in this way, a piece of junk that reminds me of the washbasin that “Replicas e Rebeldias” from Instituto Camões has been bringing to Maputo for years, things as contemporary as people painting like Turner or Columbano nowadays, but at least the latter without the arrogance of the insiders. Or, in this case, would it be because it is “Contemporary Art” for the 3rd World? -, the irritation with Gulbenkian, he said, has completely disappeared. And this was enough
“ Female Figurine .” Master of Fitzwilliam. Early Cycladic Period II (c. 2700 - 2300 BC). White marble (20.7 cm X 5.9 cm)
