When the lights go out: How a piece of art transforms into a living thing
Posted July 25, 2018 11:29:33The lights are out at the Sydney Opera House.
The lights go up, and for a moment it seems like the city is going to be enveloped in an unearthly glow.
The lights come back on.
And then it all goes to shit.
The sculptures of Klimt’s ‘The Lights’ are on the verge of going into meltdown.
And while some might find the sculpture’s eerie resemblance to a glowing sphere to be a bit of a shock, the piece has been in limbo for some time.
The ‘Klimt’ was designed in 1968 by German sculptor Dietrich Klimter and was created to represent the transition between the dawn of civilisation and the dawning of civilisation’s decline.
But Klimting’s work went on to be hugely influential, both on the art world and in the world of art, particularly the modern art world.
The piece became a sensation, drawing the attention of the likes of Andy Warhol and Jean-Michel Basquiat, who paid tribute to the piece on their paintings.
It was eventually auctioned off in 2010, but the artwork is now owned by the Australian Art Gallery of New South Wales (AAGNSW).
It’s a tragic story for Klimts sculpture, and one which the AAGNSw has struggled with for some years.
“When I heard that Klimten had died, I thought, ‘It must be a good thing for the arts’,” AAGNNSW director of heritage, Michael Joughin said.
“He was a brilliant artist.
He was a great teacher.
He had a real connection to the art form.
But he was also very, very private and very private about his artistic legacy.”
In 2013, the AAPNSW was approached by the AICN about selling the sculpture to AAGNsW, and after an initial search they agreed to take it over.
But in 2014, after the AAFSA and AAG were not able to agree on a price, it was decided to sell the work to the AACNNS in 2016.
The AAPNNS will continue to maintain a significant presence at the AAM, and it has been an ongoing process.
The artworks that have been placed in storage will be displayed until at least April 2019.
“It’s about keeping it safe, keeping it intact and keeping it alive,” Mr Joughins said.
Mr Joughinson said it was important to have some form of closure for Kri-Leen, which was part of the AED’s original plan for the artwork.
“The art was created by a young man, who had been struggling to find a way to make a living and make his art work,” he said.