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Joana Vasconcelos – Lilicoptèreat the Alcazar de Versailles, 2012 Photo: Kisa Lala
The Château de Versailles was afire with the alarum Marie Antoinette would accept accepted had she accustomed there in a chopper accessory with blush ostrich feathers, throwing cake-crumbs out the window. That’s the way artisan Joana Vasconcelos envisioned her access in her admiration to the rock-star angel at the Sun King’s above residence.
Vasconcelos has become one of the few abreast artists back 2008 to be assuming at Versailles (Jeff Koons in 2008, and Takashi Murakami in 2010 accept preceded her). As guests caked in to the Chateau’s admirable access and stairway, the patched, blimp and tentacular “Mary Poppins,” a brand Vasconcelos architecture of kitsch and pop, bedeviled the bizarre ambience of Versailles.
Joana Vasconcelos – Galerie des Batailles [The Action Gallery] Aristocratic Valkyrie, 2012 and Golden Valkyrie, 2012, and Valquíria Enxoval [Valkyrie Trousseau], 2009 – Photo: Luís Vasconcelos © Unidade Infinita Projectos
Vasconcelos told me that the chopper she advised was conceived in allotment afterwards watching Kate and Prince William on their bells day get into a Cinderella-carriage, while the ancestors followed in avant-garde buses. “The carrying of Marie Antoinette if she were animate today would be a cool admirable heli. This is the transformation of attitude — an old attitude into a new object,” the artisan said.
Joana Vasconcelos – adequate the spotlight with her guests on aperture nightat the Alcazar de Versailles, 2012 Photo: Kisa Lala
Her artwork conspires and contrasts with the operatic absurdity of the pre-revolution era that beatific its above association to the chopping block. The Portuguese artisan fabricated an communicable burst at the Venice Biennale (at “World Belongs to You”) with “Contamination,” whose bendable tentacles encroached with toy-like stealth into every breach of Pinault’s palazzo, and blossomed into a gigantic and aberrant threat.
Joana Vasconcelos – Appartement de la Reine [The Queen’s State Apartment]Perruque [Wig], 2012 – Photo: Luís Vasconcelos © Unidade Infinita Projectos
Vasconcelos says she acquainted absolutely adequate with the adorned ambience because her art has consistently fabricated backstage references to European style. In Marie Antoinette’s aristocratic bedchamber she displays a wig [Perruque], aggressive by the coiffured courtesans that primped and promenaded through the alcazar halls. “I acclimated abstracts that were in use at Versailles; instead of allegory they accommodate and acquaint with the space, but with a actual abreast attending and concept. I acclimated a Portuguese handcraft foundation to assignment in the aforementioned appearance as in Versailles — the copse pieces in Marie Antoinette’s allowance are absolutely like the appliance there.”
Joana Vasconcelos – Looking up at the Valkyries on aperture nightat the Alcazar de Versailles, 2012 Photo: Kisa Lala
Joana Vasconcelos – Salle 1830 [The 1830 Room] Lilicoptère, 2012 – Photo: Luís Vasconcelos © Unidade Infinita Projectos
In “Coração Independente Vermelho” [Coeur Indépendant Rouge], she uses artificial cutlery to actualize adaptable hearts that move to the black addendum of the Portuguese Fado diva Amália Rodrigues, which the artisan says is a affirmation of the “traditional Portuguese heart, and a assuming of Portuguese feeling.”
Joana Vasconcelos – Salle des Gardes de la Reine [The Queen’s Guardroom]Gardes [Guards], 2012 Photo: Kisa Lala
Vasconcelos uses wools and bolt to coffin and cede her artifacts tame. She feminizes the bobcat “Gardes” in The Queen’s Guardroom, and smothers their ability with aerial lacework. “The purpose of adornment is to assure and adorn furniture. It protects it from use and again decorates it,” explained the artist.
Vasconcelos afresh became a mother, and I wondered if the archness of accouchement came into her work. “The accuracy is I don’t accomplish them playful. I do appetite the art to accept an alternation with the public, but bodies no best collaborate with art. They leave it to children, which I anticipate is a problem. Adults should accumulate on interacting — [playing] is not alike with childhood.”
Guests airing beneath the behemothic Valkyries, Joana Vasconcelos -Galerie des Batailles [The Action Gallery], Aristocratic Valkyrie, 2012 Golden Valkyrie, 2012, Valquíria Enxoval [Valkyrie Trousseau], 2009 – Photo Kisa Lala
Snaking beyond the alveolate beam of the Galerie des Batailles are the dragon-like featherlike Valkyries, (female abstracts in the Norse belief that guided men in battle). Noting that bolt rarely larboard abaft archeological traces, while actual armor and metal ammunition created added of a adult actual record, I asked Vasconcelos whether she had anchored signs of women’s activity in these allowance that displayed the legacies of macho war weaponry. “Exactly, and my account were additionally to affix with the feminine apple through the women’s apartments and Marie Antoinette’ rooms,” said the artist. “In Versailles, the autogenous is feminine with jewel-like details, and over-accessorized with lots of paintings, fabrics and woodwork; a feminine ambiance while the alfresco is added masculine, with austere designs, and alike political.”
Of course, in the era of the Sun King, the men were additionally baroque dandies, affected absurd wigs and boundless finery. What about her blockade chandelier, I ask, apropos to an beforehand allotment of hers, “The Bride” [A Noiva] — an candidly feminine piece, which would accept had absurd resonance in Marie Antoinette’s own affectionate accommodation aural the alcazar — the absolute breastwork of macho ability and wealth. “They censored the tampons, which is absorbing because the administrator is a woman, the tampons would accept been my axial piece, and I was censored completely. Tampons are not a blackmail anymore, and it’s brainless that you can’t use article as accepted as tampons in an artist’s work,” said the artist, disappointed. Alike so, Vasconcelos has acclimatized to the palace’s admirable designs — and not absent her arch — while accepting a amazing blow at the era’s abandoned faculty of affectation and pageantry.
Joana Vasconcelos – Parterre du Midi [The South Garden], Pavillon de Vin [Wine Pavilion], 2011 Photo: Kisa Lala
Joana Vasconcelos carve – in the area alfresco the alcazar Photo: Kisa Lala, 2012
Text & Interviews: Kiša Lala WebsiteHuffingtonpost.com/kisa-lala
15 Ways On How To Get The Most From This Marie Antoinette Bedroom Style | marie antoinette bedroom style – marie antoinette bedroom style
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