More understated’t. Even if you are men of the Louse and the farsighted, the culture must pay facing the Vaud government for the new Museum bar at the train station, the highest respect, so the building is the architects Fabrizio Barozzi and Alberto Veiga from an aesthetic rigour that borders on self-flagellation. The two architects have built in Switzerland, the Grisons Museum of art and the Zurich dance house.
From the station westbound, you’ll see already after a few meters, a huge, easily in the amount drawn, windowless wall square, this could well be known as a fire wall. It is now and for all future the face side or the face of the Vaud art temple (in two years of him is begotten a smaller, architecturally auffälligerer brother). Not only is the. It is the entrance to the new Museum Quartier Plateforme 10 mark, which is formed here, directly next to the train station. We venture the prediction that this wall is well adorned with a large painting on the wall.
A concrete tunnel entrance. Photo: Keystone
On 3200 square meters of exhibition space, the new Musée des Beaux-Arts offers the works of Ducros, Gleyre, Steinlen, Vallotton, Soutter, representing for decades the backbone of the proud art collection of the Canton, and the great new additions of Ai Weiwei on Penone until Soulage a new home. After a tour with the founding Director, Bernard Fibicher, the Palace is visibly comfortable in his new art, you are completely convinced that this is a Museum created to meet the needs of the Museum-maker in an excellent way.
The grid view to the North
145 meters long, 21 meters wide and 23 meters high, the three-storey building, not turning away only from the train station, but also at its southern, the lake-facing side, with only two exceptions on Windows, so to speak, in turn, is inclined from a much more momentous fire wall. Here, the construction is immediately adjacent to the tracks of the train station, so you wanted to install for security reasons little window. In addition, it has banished for the sake of art from the South sun shining radically from all of the exhibition spaces.
The entrance hall with bow window. Photo: Keystone
to the North the building opens. But here, too, it is hidden behind a myriad of vertical, high-slats made of a light grey brick, which hybridize in equal intervals, the enormous length of the rhythm. A style that is very charming with the industrial past of this place plays. Behind the slats, a second skin to the concrete cube set, you will discover when you go past a large window, the width of four or five vertical struts extend, and here and there a little to the North of the light in the exhibition halls and especially in the stairwells inside.
A bow window as a throwback to the old Lokremise
And one is already in the entrance hall. It is the only room in this Museum, which measures the entire Vertical of the three-storey building through. Is dominated by a huge bow window in the South wall, which once graced the standing Lokremise. The architects have incorporated it in search of a concrete and tangible reference to the place in a brilliant way in your new building.
Up to this window leads to a wide staircase, so that every visitor on the way in the galleries to a certain extent, into the light, which of course has a symbolic, if not even sacred quality, and also the Museum in the area may be situate. The view is directly on the tons of world of wagons and locomotives, which have a much of a different material than the treasures, which are guarded in a Museum.
The entrance hall, which is provided as all of the development zones of the Museum with a bright Terrazzo floor, is dominated by a 15-Meter-high tree made of Bronze by the Italian artist Giuseppe Penone has created. The sculpture, called “Luce e ombra” – a gift from the generous Lausanne gallery owner Alice Pauli is surrounded in the lower half of an egg-shaped wreath of Golden leaves, which is reminiscent of the roof of the Vienna secession. In the upper area of the Geästes a round ball, which is supposed to symbolize the Dark, without the emerging art, such as Bernard Fibicher explains sits.
opening of exhibition with a bunch of gifts
From here you have three steps in a well-visited Museum, the restaurant is already known for its excellent cuisine. On the other side of the hall is the large Museum shop is located. Then, after a detour to the dressing rooms, which are also on the ground floor and easily accessible, up to the exhibition halls, which can be reached to the left and to the right of the entrance hall about two, unfortunately, very gloomy, distressed staircase canyons. They act in their banal functionality of something without any ideas and remind one of cheap Rose in apartment blocks, but lead directly into the exhibition floors.
view in the main gallery space of 700 square meters. All the exhibition halls on the second floor have skylights. Photo: Keystone
admission is free. This applies for the opening of the exhibition, which spreads over the whole of the Museum and until the beginning of January 2020 takes. It is also valid for the collection exhibition of the new Museum, which will be established afterwards. A dream in Basel, Berne and Zürich only. Only for the exchange of exhibitions, of which in the year three large and three smaller are planned to entry money collected.
To Start to be celebrated, private donors and lenders, the beneficiary of gifts to the new building, paid for half of Private, with a myriad of Art. Now your art complete works-the well-proportioned, with a light-wood floor-equipped rooms of the Museum, of which a whopping 700 square feet of space, which, of course, to divide. Fibicher calls his exhibition “Atlas”. His countries and continents are a couple of keywords, the order in a miscellaneous collection of art to bring the supplements from now on, the collection of the Museum, but on the most Beautiful.
So we are looking forward to just a couple of highlights to pick, under the title “forests” and “Le Retour du bûcheron” by Louis Frédéric Rouge from the year 1890, a French-speaking version of the William Tell, known to every school child in the Canton of Vaud. Then we stop in front of a particularly beautiful specimen of August Rodin’s “Le baiser” are. The sculpture operates together with Félix Vallotton’s “Femme nue lutinant un Silène” (1907) under the title “Carte du tendre” in Fibichers Atlas.
A nearly destroyed history of paintings
Anselm Kiefer’s “Rhine daughters” are to be found under the title “Flux” to. Giuseppe Penones “A occhi chiusi”, a triptych with a marble top, and two closed eyes, which are formed from louder thorns of the acacia, belongs to the Department of “Douleur”. Finally, Thomas Hirsch horn must not remain monumental Installation “Swiss Army Knife” mentioned.
In the Department of “Histoire” to the “Exécution du Major Davel”, from Charles Gleyre’s attention – or what is left of it. For the Canton of Vaud self-confidence so important to history painting was the 1723 was beheading the General who had turned against the Bernese domination. In 1980, it is in an until today not enlightened night and fog action has been almost totally destroyed, so that only a single, now as an image fragment framed soldier remained. This is now admire it in a photographic work of the great conceptual artist Sophie Calle in the exhibition.
Musée cantonal des Beaux-Arts, Lausanne. To 12.1.2020: Atlas. Cartographie du don. From 14.2.: Vienna 1900. Klimt, Schiele, Kokoschka. www.mcba.ch
Created: 18.11.2019, 19:03 PM
