Known for being one of the most symmetrical filmmakers in Hollywood, Wes Anderson is taking his love of space, light, and overly bright colours to the next level by curating an upcoming art exhibition…
Alongside his unique stories, nonchalantly blunt humour, and the weird but wonderful casts of actors he employs, Wes Anderson is celebrated in film for his striking attention to aesthetic and mise-en-scène. For Anderson what’s in a camera lens is a canvas on which he can create some strange and marvelous imagery, whether it’s a private cove populated by two teenagers or a grand hotel atop a mountain. Considering the art design and compositions of his shots, it should come as no surprise that the visionary filmmaker is turning his creative attention away from the camera to curate an art show this year.
Working alongside Anderson is his partner Juman Malouf known for her work as an illustrator, novelist, and costume designer. Over the years Malouf has weighed in on a number of Anderson’s films to create that recognisable ‘Anderson-vibe’ that fans know and love. So collaborating on such a venture as this promises to have exciting results. The exhibition will consist of a collection of weapons, armour, Greco-Roman antiquities, and musical instruments taken from the Kunsthistoriesches Museum in Vienna –where the show is being held – as well as selected sleighs and imperial carriages from the nearby Wagenburg Museum.
Whilst the content may not sound typically quirky and Anderson-esque, there is definitely room for the creative duo to flex their muscles and bring new life to these objects.
I can’t speak for anyone else, but when I heard about a Wes Anderson art show my mind went wild with images that blended scenes from my favourite movies with the collections of the exhibit. Can you imagine The Darjeeling Limited in a gilded carriage rather than a train? The film would have been very different. Or if the kids in Moonrise Kingdom had run away into the wilderness and taken nothing but ancient musical instruments. Willem Defoe would probably have been even scarier –if that’s possible – had he donned armour and wielded weapons of a different age in The Grand Budapest Hotel. It’s safe to say that the exhibition will probably not feature any of these scenarios, but it doesn’t hurt to fantasise.
One thing we can be certain of is that Anderson’s and Malouf’s attention to detail, love of light, and general flair for neatness and symmetry will make this exhibit quite remarkable.
You can catch the exhibition from September 11th to January 20th 2019 in Vienna before it moves to Venice to be displayed at the Fondazione Prada.
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