Baroque my world

Ken Pratt, one of the pioneers advocating that PROJECTile’s network model is needed in today’s international landscape where gravitas vies with the bland for visibility in “the new digital anarchy”, has written one of the key texts for the stunning publication accompanying the Sanguine.Luc Tuymans on Baroque exhibition that recently opened at Fondazione Prada in Milan.

Exhibition view. Sanguine. Luc Tuymans on the Baroque, Fondazione Prada, Milan.

Needless to say this is a book that you need if you have any real interest in art. Edited by Chiara Costa, it is available from Fondazione Prada online and through select stockists elsewhere.

Ken’s text, Baroque my world is a provocative reflection on the Baroque from the perspective of a broader cultural history rather than a more traditional art history and it has already raised a few self-satisfied eyebrows, unintentionally of course. You know him: he’s probably blissfully unaware…

Ken Pratt has been a frequent contributor to the discourse on the renowned Belgian artist’s work—in fact he curated the first solo show of Luc Tuymans’ work in Scandinavia—and an enthusiastic champion of the project, having contributed an essay for the publication that accompanied the project’s first iteration at the M HKA earlier this year in Antwerp. You should at least be curious.

His writings on Luc Tuymans’ work have covered geographical ground from  London and Tokyo to Beijing but perhaps he will be the man who will be the man who convinced Luc to become a glossy magazine cover model, as in turned out in Bottega Veneta courtesy of partner-in-crime Laurent Dombrowicz. He is, after all, the man who wrote Six and the City, a long-form article examining Antwerp’s unique relationship between vaunted artists and equally famed fashion designers.

As a curator, Ken Pratt has made more than 75 exhibitions internationally from those in dodgy little “off-off” spaces that no one except the committed would want to visit to respected museums. And, no, it’s not like those off-off spaces were where he made exhibitions only at the starting point to his engagement as a curator…

 

 

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