Men do not know why they award fame to one work of art than another. Without being in the faintest connoisseurs, they think to justify the warmth of their commendations by discovering in it a hundred virtues, whereas the real ground of their applause is inexplicable - It is sympathy.
Death in Venice, Thomas Mann
Maybe the establishment of Art History as a field of study can root back to this kind of concept. Maybe. But rather than thinking that seeking virtue in certain types of art, or art history, is a mere act of justification, I think this human reasoning toward such ‘sympathy’ worked positively as a catalyst to find and see ‘virtue’ in the unexpected (arts).
Anyhow, such a clever concept, cleverly written. It delights me.
Roland Mouret: Thierry Dreyfus and his Eyesight Production team transformed the Hotel Westin’s Salon Impérial with a striking scaffolding structure of stroboscopic light tubes, which played with the space’s 19th century features Photography: Mathias Wendzinski
Maison Martin Margiela: The conceptual label’s Spring show was held in a literal bubble. The ornate interior of the Hotel Salomon de Rothschild was virtually unrecognisable after it was shrouded from floor to ceiling in sheets of white plastic. Light artist Thierry Dreyfus created a surreal atmosphere by flooding the room with bright sunlight, using huge cinematic lights outside the windows
