I lost count of the exhibitions of Aboriginal art that flourished in Europe from north to south.
In my opinion, most of them lack direction, scattered, affecting a bit of everything without completely convinced. Thus this art fascinates some, polls, seduces or simply left puzzled others.
© With courtesy of Aboriginal Art Museum Aamu Utrecht Breaking with Tradition. Cobra and Aboriginal art,
11 November 2010 to May 8, 2011
Photo copies of paintings exhibited for
creative works of children
Commissioners add up the works in their exhibitions and struggling to find a common thread. Weddings aesthetic colors? Geographical approach to Aboriginal communities? Time series unintelligible? Often they show this art in a somewhat disjointed and chaotic.
Other curators include their exposure to another level of consciousness and enlighten their work with a special brightness: they establish an artistic dialogue quite innovative and nutritious.
The last exhibition of Aboriginal Art Museum Utrecht doubtless satisfies these new criteria: Breaking with Tradition. Cobra and Aboriginal art, November 11, 2010 to May 8, 2011.
The thesis presented is to widen if the Cobra movement, dormant for many years, with 3 years of ephemeral existence, influenced one way or another contemporary Aboriginal art? Bold!
© With courtesy of Aboriginal Art Museum Aamu Utrecht Breaking with Tradition. Cobra and Aboriginal art,
11 November 2010 to May 8, 2011
Works of movement either exchanged winks. The depth and plastic forms operate in both environments. Fun gateway graphics as shown in some photographs gathered in this post.
© With courtesy of Aboriginal Art Museum Aamu Utrecht Breaking with Tradition. Cobra and Aboriginal art,
11 November 2010 to May 8, 2011
Then, late and long after exposure, we still think our visit the museum. The pictorial approach and its combination in two separate universes give way to more images and deeper questions.
© With courtesy of Aboriginal Art Museum Aamu Utrecht Breaking with Tradition. Cobra and Aboriginal art,
11 November 2010 to May 8, 2011
Photo: interesting connections between the paintings of artists
the Cobra movement and Aboriginal art
very convincing that the search for forms "archetypal" in the Cobra movement in search of meaning, finds a particular resonance in Aboriginal art. These men
nomads, artists, do not they draw thousands of years the same forms, the same reasons, to communicate, educate, to convey a basic truth buried?
the purge shapes, but also aesthetic memorial allowed to retain only the essential mark, bringing the message across the generations. It touches on something strong, with significant footprint.
With courtesy of © Museum of Aboriginal art Aamu Utrecht Breaking with Tradition. Cobra and Aboriginal art,
11 November 2010 to May 8, 2011
Photo: sketch work, to the essentials, the artist
Wakartu Cory Surprise
Wakartu Cory Surprise
It however, is often surprising to see the power of certain forms aborigines in our imagination, even in our own culture, as if these signs had always meant something, as if the grammar of the original peoples constituted a sort of common matrix. Different
prehistorians also argue the idea of a common pictorial language cavemen of Europe, with the statistical analysis of different patterns comparable in caves and rock art sites. Studies are ongoing and could hold some surprises.
© With courtesy of Aboriginal Art Museum Aamu Utrecht Breaking with Tradition. Cobra and Aboriginal art,
11 November 2010 to May 8, 2011
Photo: A Dialogue between a daring work of Pierre Alechismky
and a painting of Aboriginal art from the Laverty Collection
exposure of Utrecht also goes beyond forms and is interested in art movements. On one side or the other, research or transmission patterns is not sufficient in itself, it reinvents itself.
© With courtesy of Aboriginal Art Museum Aamu Utrecht Breaking with Tradition. Cobra and Aboriginal art,
11 November 2010 to May 8, 2011
Innovation presided over the new talent. In the same spirit as the Cobra movement, Aboriginal artists are looking for the ultimate form, free of slag somewhat agreed, figurative or optionally Pointillist.
For some it is almost more than the thick, deep, free tools, just accentuated by the touch of the hand gestures as in the artist Wakartu Cory Surprise.
few winks in the footsteps of a collection. Early balbuciements to greater discoveries. Nomadic peoples, the Aborigines contemporary paintings ... 
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