Par\u012bzes meistara daudzpus\u012bg\u0101 rado\u0161\u0101 dz\u012bve jaun\u0101 gaism\u0101<\/p>\n
Londonas Modern\u0101s m\u0101kslas muzej\u0101 \u201cTate Modern\u201d atkl\u0101ta jauna izst\u0101de ar nosaukumu “Theatre Picasso”, kas sniedz unik\u0101lu ieskatu Pablo Pikaso rado\u0161aj\u0101 pasaul\u0113. K\u0101 zi\u0146o telekan\u0101ls TV3, \u0161\u012b izst\u0101de, kas norisin\u0101s no 2025. gada 17. septembra l\u012bdz 2026. gada 12. apr\u012blim, apl\u016bko Pikaso dai\u013cradi caur vi\u0146a m\u016b\u017ea ilgo aizrau\u0161anos ar skatuves m\u0101kslu, identit\u0101ti un transform\u0101ciju. Izst\u0101des centr\u0101lais darbs ir slaven\u0101 glezna “Tr\u012bs dejot\u0101jas”, kuras pirm\u0101s pabeig\u0161anas 100. gadadienu \u0161ogad atz\u012bm\u0113. T\u0101 kalpo k\u0101 atspirtek\u013ca punkts, lai izp\u0113t\u012btu, k\u0101 Pikaso idejas bie\u017ei vien rad\u0101s tie\u0161i m\u0101ksliniecisko priek\u0161nesumu vid\u0113, iedvesmojoties no dejot\u0101jiem, akrob\u0101tiem un izklaid\u0113t\u0101jiem.<\/p>\n
Izst\u0101de, ko veidoju\u0161i m\u016bsdienu m\u0101kslinieks V\u016b Tsangs (Wu Tsang) un kurators Enrike Fuenteblanka (Enrique Fuenteblanca), ir vair\u0101k nek\u0101 tikai m\u0101kslas darbu apskate. T\u0101 p\u0101rv\u0113r\u0161 izst\u0101\u017eu z\u0101li par te\u0101tra skatuvi, kur\u0101 izst\u0101d\u012bti vair\u0101k nek\u0101 50 Pikaso darbi, tostarp gleznojumi, skulpt\u016bras, tekstila izstr\u0101d\u0101jumi un darbi uz pap\u012bra, da\u013ca no kuriem Lielbrit\u0101nij\u0101 tiek demonstr\u0113ti pirmo reizi. \u0160ie darbi ir aizg\u016bti no starptautisk\u0101m kolekcij\u0101m, tai skait\u0101 no Pikaso muzejiem Par\u012bz\u0113 un Antib\u0113.<\/p>\n
Pikaso \u2013 m\u0101kslinieks un izpild\u012bt\u0101js<\/p>\n
Pablo Pikaso (1981-1973) tiek uzskat\u012bts par vienu no 20. gadsimta rado\u0161\u0101kajiem un ietekm\u012bg\u0101kajiem m\u0101ksliniekiem, kur\u0161 ir kubisma pamatlic\u0113js kop\u0101 ar \u017dor\u017eu Braku. Vi\u0146a ietekme uz Rietumu un pat Latvijas m\u0101kslu ir bijusi noz\u012bm\u012bga, iedvesmojot vair\u0101kus m\u0101ksliniekus ar savu virtuozo stilu un eksperimentiem ar form\u0101m un kr\u0101s\u0101m. Tom\u0113r “Theatre Picasso” izst\u0101de izvirza jaunu perspekt\u012bvu, uzsverot, ka Pikaso pats bie\u017ei vien darbojies k\u0101 izpild\u012bt\u0101js, veidojot savu m\u0101kslinieka-\u0123\u0113nija un dumpinieka t\u0113lu. \u0160\u012b pa\u0161aizst\u0101v\u0113\u0161an\u0101s un pa\u0161att\u0113lojuma veids atspogu\u013cojas vi\u0146a dai\u013crad\u0113, kur bie\u017ei vien sastopami cirka m\u0101kslinieki, dejot\u0101ji un citu skatuves personu att\u0113li. Pikaso person\u012bba un vi\u0146a darbi sapl\u016bst vien\u0101, radot iluzoru pasauli, kur\u0101 m\u0101kslinieks ir gan rad\u012bt\u0101js, gan izpild\u012bt\u0101js.<\/p>\n
Izst\u0101de aptver gan zin\u0101mus darbus, piem\u0113ram, “Raudo\u0161\u0101 sieviete” (1937) un “Nogul\u0161us sieviete sarkan\u0101 atp\u016btas kr\u0113sl\u0101” (1932), gan maz\u0101k zin\u0101mus darbus, kas apliecina Pikaso da\u017e\u0101d\u012bbu un talantu. Vi\u0146a darbi, piem\u0113ram, “Meitene \u017eaket\u0113” (ap 1905) un “Acrobat” (1930), atg\u0101dina par vi\u0146a agr\u012bnajiem posmiem, kad vi\u0146\u0161 piev\u0113rs\u0101s izstumtajiem un m\u0101ksliniekiem k\u0101 metaforai par pa\u0161u m\u0101kslinieku. \u0160ie t\u0113li iemieso transform\u0101cijas un specefektu t\u0113mas, dz\u012bvojot robe\u017e\u0101s starp realit\u0101ti un izr\u0101di, glu\u017ei k\u0101 pats Pikaso sav\u0101 dz\u012bv\u0113. Izst\u0101de uzdod jaut\u0101jumu, k\u0101 \u0161ie elementi ir integr\u0113ti vi\u0146a glezniec\u012bb\u0101 un k\u0101 publika uztver vi\u0146a darbus.<\/p>\n
M\u0101ksla, identit\u0101te un skatuves pasaule<\/p>\n
Lai gan daudzas izst\u0101des ir apl\u016bkoju\u0161as Pikaso pla\u0161o dai\u013cradi, “Theatre Picasso” piev\u0113r\u0161as \u012bpa\u0161i vi\u0146a dzi\u013cajai aizraut\u012bbai ar te\u0101tr\u0101lismu un pa\u0161prezent\u0101cijas m\u0101kslu. Glezna “Tr\u012bs dejot\u0101jas”, kas gleznota 1925. gad\u0101, tiek interpret\u0113ta k\u0101 p\u0101rdomas par m\u012blest\u012bbu, alk\u0101m un n\u0101vi, un t\u0101 ir k\u013cuvusi par izst\u0101des sirdi. \u0160\u012b glezna ir durvis uz Pikaso pasauli, kur\u0101 dejot\u0101ji nav tikai kompoz\u012bcijas elementi, bet gan aktieri uz skatuves, kuru \u0137erme\u0146i ir notverti m\u016b\u017e\u012bg\u0101 performanc\u0113.<\/p>\n
Izst\u0101de ar\u012b apl\u016bko Pikaso saist\u012bbu ar kult\u016bras margin\u0101liem \u2013 dejot\u0101jiem, cirka izpild\u012bt\u0101jiem un akrob\u0101tiem. Vi\u0146\u0161 att\u0113loja m\u0101ksliniekus no cirka pasaules, v\u0113r\u0161a c\u012b\u0146u izpild\u012bt\u0101jus un flamenko dejot\u0101jus, k\u0101 ar\u012b modeles. \u0160ie t\u0113li iemieso transform\u0101cijas un specefektu t\u0113mas, dz\u012bvojot robe\u017e\u0101s starp realit\u0101ti un izr\u0101di, glu\u017ei k\u0101 pats Pikaso sav\u0101 dz\u012bv\u0113. Izst\u0101de uzdod jaut\u0101jumu, k\u0101 \u0161ie elementi ir integr\u0113ti vi\u0146a glezniec\u012bb\u0101 un k\u0101 publika uztver vi\u0146a darbus.<\/p>\n
Pikaso mantojums un m\u016bsdienu m\u0101ksla<\/p>\n
“Theatre Picasso” ir vair\u0101k nek\u0101 tikai retrospekcija; t\u0101 ir Pikaso darbu p\u0101rinterpret\u0101cija caur performancest\u0113zes objekt\u012bvu. Izst\u0101des veidot\u0101ji aicina skat\u012bt\u0101jus ne tikai apl\u016bkot vi\u0146a gleznotos priek\u0161metus \u2013 cirka izpild\u012bt\u0101jus, dejot\u0101jus, v\u0113r\u0161a c\u012bksto\u0146us \u2013 bet ar\u012b izprast veidu, k\u0101d\u0101 vi\u0146\u0161 pats izpild\u012bjis savu person\u012bbu: Pikaso, m\u0101kslinieks. Izst\u0101de uzsver, k\u0101 Pikaso r\u016bp\u012bgi veidojis savu publisko identit\u0101ti k\u0101 \u0123\u0113niju, dumpinieku un \u0161ovmenni \u2013 narat\u012bvs, kas joproj\u0101m ietekm\u0113 to, k\u0101 m\u0113s \u0161odien uztveram m\u0101ksliniekus. Vi\u0146a m\u0101ksla bija skatuve, uz kuras vi\u0146\u0161 projic\u0113ja ne tikai savus subjektus, bet ar\u012b sevi.<\/p>\n
M\u0101kslas pasaul\u0113 Pikaso ir atst\u0101jis dzi\u013cas p\u0113das, ietekm\u0113jot ne tikai savu laikabiedru darbus, bet ar\u012b turpm\u0101k\u0101s paaudzes. Vi\u0146a ietekme uz Latvijas m\u0101ksliniekiem, piem\u0113ram, Visvaldi Ziedi\u0146u, R\u016bdolfu Pinni un Aleksandru Dembo, ir dokument\u0113ta, apliecinot vi\u0146a rado\u0161\u0101 darba sp\u0113ku un daudzpus\u012bbu. Izst\u0101de “Theatre Picasso” Tate Modern ir noz\u012bm\u012bgs pas\u0101kums, kas ne tikai atz\u012bm\u0113 Pikaso “Tr\u012bs dejot\u0101ju” gadadienu, bet ar\u012b pied\u0101v\u0101 jaunu un aizraujo\u0161u veidu, k\u0101 iepaz\u012bt viena no 20. gadsimta izcil\u0101kajiem m\u0101ksliniekiem mantojumu, izce\u013cot vi\u0146a dz\u012bves un m\u0101kslas nep\u0101rtraukto dialogu ar skatuves pasauli.<\/p>\n","protected":false},"excerpt":{"rendered":"Par\u012bzes meistara daudzpus\u012bg\u0101 rado\u0161\u0101 dz\u012bve jaun\u0101 gaism\u0101 Londonas Modern\u0101s m\u0101kslas muzej\u0101 \u201cTate Modern\u201d atkl\u0101ta jauna izst\u0101de ar nosaukumu…\n","protected":false},"author":2,"featured_media":95392,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[89,90,35,39,38,36,37,34,40,8525,23747,22814,23746,7471],"class_list":{"0":"post-95391","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-izklaide","8":"tag-entertainment","9":"tag-izklaide","10":"tag-latvia","11":"tag-latvian","12":"tag-latviesu","13":"tag-latviesu-valoda","14":"tag-latviesuvaloda","15":"tag-latvija","16":"tag-lv","17":"tag-makslas-izstade","18":"tag-moderna-maksla","19":"tag-pablo-pikaso","20":"tag-perfomance","21":"tag-tate-modern"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@lv\/115843454886557498","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/95391","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/comments?post=95391"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/posts\/95391\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media\/95392"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/media?parent=95391"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/categories?post=95391"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/lv\/wp-json\/wp\/v2\/tags?post=95391"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}