Friday, February 1, 2013

"There is a 70% chance that exposure to reach the Thyssen Valentino", interview with Guillermo Solana

Master Valentino Couture

The fashion entered the museum and see now a major exhibition of a remarkable designer in the program of the premier art is something usual, when a few years ago this area would generate much controversy (even today some still with that mentality). Valentino gave one of the first steps in bringing together fashion and art museums. Today has an extensive exhibition entitled "Valentino: Master of Couture 'at Somerset House in London that after going through the Ara Pacis Museum in Rome, could have its third stop in Madrid, at the Museo Thyssen-Bornemisza for next summer. We talked to the artistic director of the museum, Guillermo Solana, who tells us in this interview how are the negotiations to make this wish a reality.

Valentino in Thyssen, a dream close

How are negotiations right now to bring exposure to Thyssen Valentino?

We are still negotiating. Not quite sure that we have the Thyssen exposure.

How does the interest of the Thyssen to bring exposure of Valentino?

We saw that Valentino at Somerset House in London, it was a very interesting exhibition. An assistant of mine, Paula Luengo, also seen in the Ara Pacis Museum in Rome , and he had been impressed, had seemed dazzling. The concept of Somerset House is bright, is having great success in London, of course.

Then I called the director of Somerset House , in London, he said he was going to explore, to see if he could come to Madrid exposure. Then I consulted with Valentino, he feels well but the truth is that we still have a little job to do in the negotiation. We have not talked about money, they have to come here and see the spaces. We are in the middle of negotiations.

If possible, when we could see the exhibition at the Thyssen Valentino?

My idea would be, if negotiations go well, which opens on July 1, we've got a rush in the summer, in our room where Cartier now in theaters we call Moneo rooms, which are in the basement, at least one floor of the museum.

How long would be exposed?

Until 20 September. They are purely tentative dates, speak of a wish. There is still plenty to talk, never better.

According to the perceptions you have, do you think the deal to bring the exhibition Valentino is near or far?

Yes, yes, I think there may be a 70% chance that we will succeed. It is more likely than not.

What would the Valentino exhibition at the Thyssen Museum?

They try to try to adapt the concept of the exhibition is now at Somerset House. Probably will not fit any space. Be seen. One of the curators of the exhibition at Somerset House is Patrick Kinmonth, as we know him because he helped Mario Testino to install his exhibition at the Thyssen did.

We talked with Patrick and they will come, will the space to see if they can adapt, plus all the trimmings. If we agree on this point, money and other fringe, this could be the beginning of a roaming. Exposure could go more places. In America or Italy.

Would there be any relationship of exposure with Thyssen painting in the installation?

Valentino is very painterly. We thought even if a collection box Thyssen could enter the exhibition. We think some dialogue. Being so pictorial, has many references to the history of painting. I am very interested to do.

This would be just an idea. At the time of putting it into practice in the facility could pose problems. We do not have much space below. Only for me it is clear, despite not we install any painting in the room, that engages with a part of the museum's collection.

It's already happened with Mario Testino. When you go to see a large portrait of [John Singer] Sargent we have in our collection, ' Portrait of Millicent, Duchess of Sutherland ', you see the dress she wears it and all the details are well aware of features that are in the fashion photography or contemporary fashion. There are paintings, especially portrait Century XVIII or XIX Where there is a connection with today's fashion. Besides fashion designers are inspired by these great portraits of living, the great society. The large portrait-century courtier XVIII .

Whenever we do something automatically think if it has or does not have a convincing relationship with the museum. In this case, although it seems far because it is not painting or sculpture, but I think there is. Valentino gets along very well with the spirit of Thyssen.

When the space, the size of the rooms of the Thyssen will condition adapt over 130 designs now Valentino is exhibiting at Somerset House in London. What would this adaptation?

Yes, this would be seen. Probably would not fit all. We have to see the space with the commissioners. If the reduction desentrañaría hampering the project or not. They have to come here, and see if you can tell us. They have to come representatives of Valentino, which I think they like the Thyssen as scenery, but you have to see the actual exhibition space and what can be done with it.

In this case we should make a selection of dresses that are being exposed.

Sure. It would have to work with the commissioners making a reduction, first to see if it can be done. If that does not make many pieces cut, not worth it, is affected the concept of the exhibition.

What do you think about this type Tita Cervera exhibition?

Tita just talked to consider the idea. Valentino She knows, of course, for many years. It has a friendship with him. I said she looked fantastic. I told him to call her in case she had to stick to fashion in the museum reserves silvered him and she said, quite rightly, "museums have changed much in recent decades. Today fashion is seen in many museums around the world, from the Metropolitan down in many places. "

And those are. Maybe eventually, but we launched the preannouncement might end is not possible.

What do you most significant about Valentino exhibition in terms of design?

There are some who have tweeted, that fascinated me. There are wonderful pieces. Red Valentino particular, a number of mannequins that is fantastic. In my personal Twitter I highlighted some designs:

Valentino Haute Couture Spring-Summer 1998 Valentino Haute Couture Spring-Summer 1998.

Valentino Haute Couture Spring-Summer 1998.

Valentino Haute Couture Fall-Winter 2002/2003 Valentino Haute Couture Fall-Winter 2002/2003.

Valentino Haute Couture Fall-Winter 2002/2003.

Valentino Haute Couture Spring-Summer 2005 Valentino Haute Couture Spring-Summer 2005.

Valentino Haute Couture Spring-Summer 2005.

Valentino Haute Couture Fall-Winter 2002/2003 Valentino Haute Couture Fall-Winter 2002/2003.

Valentino Haute Couture Fall-Winter 2002/2003.

Fashion goes to museums

The Valentino exhibition will be the first exhibition focused on fashion designer who organized the Thyssen Museum.

To me it seems very attractive because Valentino is an absolute classic. It is one of the best places to start a relationship with fashion. We, although exposure of Mario Testino bordered the fashion world, we have never made a fashion exhibition. I think that would be the ideal place to start. Valentino is an absolute classic, undisputed. If at this time the collection is available and open to roaming, us happy.

How have previous exhibitions Mario Testino and Cartier?

Very good, very good. Testino worked great. There was some controversy, a small in some newspaper that put some paste but the public responded very well. He had great numbers of people and especially a younger wine than we have in other exhibitions. The balance is extremely positive.

It was a thought Testino exhibition specifically for Thyssen. At that time he was only an exhibition of portraits exhibited completely different in the National Portrait Gallery in London .

Right now, Testino has a major exhibition of his photography at the Museum of Fine Arts, Boston , to which I invite those who are with us when we got to Testino here to see if they get to that museum. The Boston Museum is a wonderful museum, respectable, with a wonderful collection of paintings and has considered Testino worth doing a major retrospective of his photography. The exhibition is not like ours, but there are many pieces that were in our discussion that have been there too.

I'm happy with these steps we have taken these steps we have taken in other areas, perhaps not the most common field in which we have always worked, of course the heart of our exhibitions will remain the history of painting, by granted, but from time to time to do contemporary photography, like fashion to do, how to do an exhibition like Cartier, art objects and jewelry. Also attract different audience segments, which are looking for other things.

Guillermo Solana Guillermo Solana, Artistic Director of the Museo Thyssen-Bornemisza.

In this field enter the traditional criticism that the museum looking at a machine becomes stagnant, without departing from its supposed regular work, doing the same thing all the time.

Yes, there is a criticism that we effectively pigeonholed into one kind of thing, there is a kind of connoisseur who thinks these things are popular, which are the fine arts in the traditional sense of the word, which is a popular taste. Fashion photography and other fields. The difference between the popular and the elite has faded completely in museums. Museums today are open to a range of aesthetic expressions much more extensive than had at one time. We can make both a fashion exhibition, photography or jewelry that a painting exhibition focusing on a historical period.

That besides, of course, the classic painting remain our spine, that will not stop him.

In line with this theme, how does the phenomenon, increasingly widespread, the interest of the great art museums of fashion?

Fashion is a very social and aesthetic expression noteworthy, interesting, exciting and also closely related to the history of painting. Because as I said before, painters, especially portraits, court portrait, have a great influence on designers.

Right now there is an exhibition in Seville, in the Museum of Fine Arts , which has come to the Museum of Costume in Madrid, with the saints of Zurbaran and contemporary fashion designers working with them. We borrowed a Zurbarán ours, Thyssen Malaga also provided the Santa Casilda .

These things not only lawful, but interesting, attractive and exciting when setting these dialogues. The designers are inspired much in the history of painting and have every right in the world to discover new aspects of painting. Fashion is an art, as is the painting itself.

If I could organize an exhibition on fashion, either on a designer, a brand or a particular time, in addition to Valentino, what would you like?

I saw the exhibition of Armani at the Guggenheim and loved. Alexander McQueen in New York also liked a lot. There are many. The problem is to limit it. Deciding on one. I cite these two especially. Besides we speak, Valentino in Rome and London. Then you need to add that of Gaultier in Mapfre has been very interesting.

Then, in the future, will the Thyssen Museum will continue to pursue fashion as temporary exhibitions?

Yes, occasionally. It is not necessarily that we do each year a statement of fashion. In his field, and leave or not Valentino, I desire that if possible and get it this summer, even if it does not, we'll try to make another great contemporary fashion designer.

Official site | Museo Thyssen-Bornemisza
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