Q: What’s better than SUPERTITLES at the opera?
A: REALLY BIG WALL TEXT REALLY HIGH UP at an art museum!
We loved seeing the exhaustive (and exhausting) Kandinsky retrospective at the Beaubourg, a.k.a. Centre Georges Pompidou: the bold splotches of color, the whimsical shapes, all that kinetic motion from the peripatetic 20th-century master whose career took him from the Blue Rider through the Bauhaus. The only thing that left us puzzled was the wall text, which was writ LARGE and placed WAAAY up the wall. I suppose it’s so that even if visitors are stacked five-deep and can’t see the art, they can at least read the name of the painting over the tousled heads of fellow art-gawkers. Maybe some U.S. museums will catch on to this user-friendly trick. The Guggenheim will get its opportunity in September, when the show travels to New York.
Click on images to supersize.
Oh, by the way, if you haven’t seen it yet, on permanent display in its own pavilion near all the buskers and picnicking college students in the Place Beaubourg is Brancusi’s studio. And Renzo’s Piano’s reimagining of the sculptor’s environment is even better than the original: it’s got glass walls!
Brancusi was so in love with the harmony of his own permanent installation that when he sold a sculpture, he would replace it with a plaster cast. (See a 360-degree view of the whole studio here.)
After the show, a visit to the Café Beaubourg is in order – it is our favorite place in the area for beautiful people-watching ops.
It is best known for the concrete interieurs tres chic which put Philippe Starck on the map of design-lovers back in 1980. Keep the Gauloises outside, please; they interfere with the delicate — and expensive — nuances of the cordon bleu.