Tuesday, May 29, 2012
We have visited so many museums and exhibitions in the last month: Amsterdam's Rijksmuseum, the Van Gogh (where we followed a tour guide through a great exposition on Symbolism from Van Gogh to Kandinsky). In Paris, so far, we've visited l'Orangerie to see Manet's lilies, but also its permanent collection (primarily the gift of collector Paul Guillaume) and a temporary exhibition on Debussy, his music and the arts (interesting, but I was SO irritated with the Impressionists by the end of it -- or at least, not the Impressionists themselves but the subsequent commodification of their once-iconoclastic work, now adorning college dorm rooms the world over).
No other museum or gallery, though, offered the playful absorption -- and on such a massive scale -- of Daniel Buren's work Excentrique(s): Work In Situ, the 2012 presentation of the annual Monumenta in which an invited artist uses the Nave of the Grand Palais to instal a work created especially for that immense space.
I'm finishing up this post Monday morning, as we decide what to do with our last two days in Paris. Both of us are very ready to be home, a bit impatient, truth be told, to get back to "real life" again. This impatience is always a good sign, I think, at the end of a holiday, signalling that the time away from the quotidian has brought us around to an appreciation of our everyday domestic and work lives.
A month is a long time to be away -- or rather, being away allows one to know how long a month really is, or can be. It's a significant proportion of my year, and I expect to be integrating its experiences and insights into my life for some time to come. And into my blog. So that while this is likely the last missive I'll post from Paris, I must warn you now that I'll be showing you photos and talking about my travels for the foreseeable future.
Talk to you soon from (another*) little island . . .
*Because Paris, as you know, is on a little island of its own -- perhaps that explains the affinity . . .