“They have rabies”, as it looks today and it is the event of the fall of paris: the Fondation Vuitton exposes Jean-Michel Basquiat, who embodies the revolt of young new york artists of the 80’s, at the same time as the Viennese Egon Schiele, the emblem of a rebellion just as radical at the beginning of the Twentieth century.
From 3 October to 14 January, the Foundation of Bernard Arnault, boss of the luxury group LVMH, is devoting a retrospective of a hundred of works of art at the new-york artist (1960-1988), which began graffer in the street, worked closely with Andy Warhol before dying of a drug overdose: eight years of creations intense from 1980 to 1988.
Also present at the exhibition, the Viennese Egon Schiele (1890-1918), painter of the erotic charge from the time of Freud and the emergence of the psychoanalysis, is exhibited in the adjoining rooms.
Schiele, in the Vienna of the 1800’s, and jean-michel Basquiat in New York in 1980, died at 28 and 27 years, two young rebels, breaking school, meet on several points : “They are very involved with missions that are beyond their control, work in deeper water are prolific and superdoués”: for Schiele, it is “to observe frontally what is the human being, with one body, one gender”.
For Basquiat, it is “exist with the black figure,” observes Suzanne Pagé, artistic director of the Foundation Louis Vuitton.
The revolt in Vienna, Schiele, and it is against conformism and academic, while he is obsessed with syphilis, which is reached by his father. The rebellion to New York to Basquiat, it is against a cultural world where Black is only slightly represented. These are also the years Aids.
It will begin with graffiti in the aerosol can, the signing of “SAMO” for “the same old shit”. He sprinkles his works of graffiti often poetic, inquiries and provocations.
The work of jean-michel Basquiat is at odds with the minimal and conceptual art, clean, and cervical. It is full of fury and an immense tenderness.
– “Existential” –
Dieter Buchhart, curator of the exhibition, defines his style as one of the “line existential”. A line of sharp is found in Schiele.
The retrospective on the american artist opens on three giant heads of which the one is purchased at $ 110.5 million last year by billionaire japanese Yusaku Maezawa.
“Their glances you shot”, and the heads show the human being “from the inside and from the outside,” notes Suzanne Pagé. So raw, gross, that Schiele painted his body deformed.
For eight years, the mother of the young Basquiat, who was hospitalised after an accident in the street had offered him an anatomy book, tells the story of the artistic director: as to where these wires and pipes that circulate keen on his work.
The exhibition concludes with a painting in acrylic very bare-bones, “Riding with death” where the rider and his gestures to synthesize the three masterpieces of Leonardo da Vinci, Rembrandt, and Dürer.
The nails, crown of thorns, there are also in the inspiration of jean-michel Basquiat a messianic aspect, of christ.
Basquiat is at the top of the art market today, and also very popular: “It was a huge culture, were compiling everything. All young people who feel that they belong to all cultures, there are,” said Suzanne Pagé.
It was a middle class of Brooklyn and accompanied her mother in the museums, but it gives voice to an art that says it all, unceremoniously, in a way, raw, sincere, almost childish. “Basquiat had always kept in touch with the street and practiced a diy voluntary”, she says.
“He has hardly taken the time to live, but its transgressions of art have no end. Basquiat said his wrath against all the conventionalities which bind the real life, and against racisms sordid that kill the differences. His aggressiveness in the face of the number of cultural barriers, is staggering, frightening and sublime”, told AFP the art critic and lecturer Christian Noorbergen, who collaborates with the magazine Artension.