Word: hulten
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...relationships between Paris and three modernist capitals: New York (1977), Berlin (1978) and Moscow. The sheer size of the Soviet loan-some 2,000 works in all media, from paintings to agitprop posters, from architectural drawings to teacups and chess sets-put the center's director, Pontus Hulten, at a disadvantage in bargaining. The Russian side of the show is wholly chosen and catalogued by Soviet experts, whose essays (as one might expect) gloss over the brutal fate of the culture they discuss and, as art history, are not pitched at the level of scholarship a European audience feels...
Over the past few years its stolidly trendy Swedish director, Karl Pontus Hulten, has emitted much politic cant about how Le Pompidoglio would not be a museum in the traditional (read "elitist") sense, but rather a kind of cross between a people's palace and a pinball machine-a transcultural, interdisciplinary omnivorium. The real question was how the place might work as a museum. On seeing "Paris-New York," one wishes the question had not been asked. The show is a curatorial botch...
...other to claim that they have any historical weight. There is no level on which the last part of "Paris - New York" can be taken seriously. If this is how the Pompidou Center intends to treat the history of modern culture, then God help poor Clio, for Pontus Hulten will...
...machines of the 1940s, and particularly the atom bomb, in Hulten's opinion, helped to turn artists away in disgust from technological subject matter. But by the late 1950s, the machine was beginning to attract a new following. This postwar generation could treat a machine with easy familiarity. Claes Oldenburg's liquidly drooping Giant Soft Fan is, among other things, a gently nostalgic evocation of times past -since, after all, air conditioning is more common nowadays. Jean Tinguely's joyous black Rotozaza, No. 1 tosses out colored balls and then sucks them back in again, a mystifying...
Says K. G. Pontus Hulten: "All of us have a rather unclear and not very dignified relation to technology. We put hope in the machine and then get frustrated when it deceives us. How the artist in particular looks upon technology is very important-because it is the freest, the most human way of looking at a nonhuman object. Perhaps the artist will show us the way to a better relationship...