Normalian and associate of philosophy, Benjamin Olivennes teaches at Columbia University in New York. He has published “L'Autre Art contemporain” (Grasset, January 2021, 168 p., € 16).
Obviously, the roles are written in advance and the comedy unfolds as planned.
Common sense rebels:
"It's ugly!"
,
"We don't understand anything!"
,
“Waste of public money!”
,
"Sacrilege!" ...
More often than not, he is silent, aware that he is playing the role of the villain in a play that has been repeated without interruption for a hundred years, and intimidated by the hero of the play - the semi- skilled in contemporary art.
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This one wriggles.
Shock, scandalize, be misunderstood: he can afford the pleasure of replaying without danger the most famous dramas of the last century and a half, from Courbet to the
Demoiselles d'Avignon
, when it is not really the Dreyfus affair or resistance.
What Christo does is, without being great or overwhelming, not bad.
Not bad, but cheesy
Especially since this time around, the play is well written, and our semi-skilled can respond quite easily to some of the more obvious criticisms.
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Freedom is also to go to the end of a debate.
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