{"id":66404,"date":"2023-10-10T09:47:05","date_gmt":"2023-10-10T07:47:05","guid":{"rendered":"https:\/\/fnt.ro\/2023\/zeii-de-imprumut-ai-vienei-martori-impietriti-expozitie-de-fotografie-de-teatru-de-christine-de-grancy\/"},"modified":"2023-10-16T12:13:52","modified_gmt":"2023-10-16T10:13:52","slug":"viennese-gods-for-borrowing-stoned-witnesses-theatre-photography-exhibition-by-christine-de-grancy","status":"publish","type":"post","link":"https:\/\/fnt.ro\/2023\/en\/viennese-gods-for-borrowing-stoned-witnesses-theatre-photography-exhibition-by-christine-de-grancy\/","title":{"rendered":"Viennese gods for borrowing, stoned witnesses (Theatre photography exhibition by Christine de Grancy)"},"content":{"rendered":"

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Opening: 22 October | 16:00 \u2013 ARCUB, Lipscani Hall<\/strong><\/p>\n

The exhibition can be visited as following:<\/p>\n

20 October \u2013 5 November 2023, between 10:00 and 18:00.<\/p>\n

FREE ENTRY<\/p>\n<\/div>

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As part of the NTF program, the Austrian Cultural Forum presents the theatre photography exhibition of Christine de Grancy, about the theatricality and symbolism of Vienesse architecture. The exhibition will be opened in the presence of the author, Christine de GRancy and that of her curator, the actress Mercedes Echerer.<\/h3>\n<\/div>
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Author: Christine de Grancy<\/strong><\/p>\n

Curator: Mercedes Echerer<\/strong><\/p>\n

Producer: Austrian Cultural Forum<\/strong><\/p>\n<\/div>

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Starting from 1975, Christine de Grancy climbs on top of Viennese rooftops to study the political, social, scientific, artistic, cultural and religious centres from the perspective of the statues that decorate them. These gods and goddesses, placed there by hands long gone, are the silent observers of our history. To quote Arthur Schnitzler, \u201dWhat used to be, is!\u201d, the photographs of Christine de Grancy talk about the past and its consequences on the present. Her art combines memories, illusions, projections of the future as well as reality, all of which the artist collects with precision, in compositions that reveal the theatricality of their content. The historical images captured by Grancy contain both ironical undertones and profound meanings. Why, in that Vienna of Sigmund Freud, there’s no statue of Mnemosyne, the goddess of memory? Is it a coincidence that a statue of Fama, the goddess of whispers, crowns the Hofburg rooftop? Why does Pallas Athena, the goddess of wisdom and war, watches over the Parlament holding Nike, the goddess of victory, in her palm? At that time, it maybe symbolised a wish for democracy – but today? And also, why is there a horse trainer in front of this building? Shame on those who find any of it unfitting!<\/p>\n<\/div>

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