The director of worship at the museum «DiePresse.com

Not once, the word "chosen" was used to talk about his films. The magical worlds of Wes Anderson carry unique and incomparable images. They may have always been closer to the art than the art world perceived. Now, Wes Anderson beats her and, with his wife, lends itself to one of the largest institutions in the history of art for his narrative image ideas. At the Kunsthistorisches Museum in Vienna, he gives up his usual craft and is now thinking of the unusual "exhibition" task, including the trailer and the mature title of the film "Sheep in a coffin and other treasures". Wesley Anderson, born in Texas in 1969, made his independent debut in 1998 with "Rushmore". Next are clbadics such as "The Royal Tenenbaums", "Deep Divers", "Darjeeling Limited", "Moonrise Kingdom" and "Grand Budapest Hotel", as well as animated films "The Fantastic Mr. Fox" and the 2018 edition of "Isle of Dogs Atari".

beginnings of the museum. Many of these works have been challenged by the director and the author, for example with Hollywood's favorite, Owen Wilson. It is therefore hardly surprising that his debut at the museum is a collaboration with his life partner, the costume designer, voice actor, author and illustrator Juman Malouf. An imaginary and magical fairy tale exhibition is born from the common enthusiasm for pictorial figures in detail and in a fun way. About 60 people are involved in the emergence of these, especially a clean architect was essential, reports Jasper Sharp. Since 2012, the curator has been promoting contemporary projects at the Kunsthistorisches Museum. Ed Ruscha and Edmund de Waal were already invited as artist-curators. These orders always start with long tours of the artists through the KHM buildings, so, albeit unexpectedly, this time too. In 2015, when Sharp was asked spontaneously to guide his friends and acquaintances through the museum, Wes Anderson and Juman Malouf were that knowledge. They were immediately impressed by the museum's treasures, including the Kunstkammer. "People who make their own objects react differently to them," says Sharp, "unlike curators and others as visual artists, their reactions have intrigued me."

Not excited about the chefs-d'-oeuvre. The exhibition proposal came quickly to both people, who had never done so. They knew exactly what they wanted. Difficulties arise in small differences in daily working life, such as the treatment of originals. On the set, Anderson is used to working with accessories and replicas. He was already using Klimt and Schiele's images in films, but was reflecting counterfeits. Visitors now have access to the 14 collection depots of the Kunsthistorisches Museum. Only a small part of these collections is on display, the idea of ​​the great collection of Habsburg pbadions has been lost with enlightenment, because in the disciplines, disciplines, regions and hierarchies, the images are now more than furniture presented. Theater Museum, Hofmobiliendepot, Wagenburg and so on. Anderson and Ma Lou have seen it all and, with their selection of 400 items, now offer their own small collection of new clbadification systems. Their way of thinking and organizing them remains a big secret until the opening, and we do not want to anticipate the first or the vernissage.

For now, only Sharp knows more: "The system of values ​​of art historians is totally uninteresting for our guest curators.It is not about what is the best, the rarest, the best, which has the best history and provenance of the exhibition.Wes and Juman have a They are not excited about the masterpieces. "Thus, the object that gives the title is an object that is actually displayed every day in public in a showcase with many others in a side cabinet of the Egyptian collection. Now, the supporting role becomes the star cast.

This is how Anderson and Malouf understand the world. They recognize the new and the beautiful in the so-called daily. They both love Vienna and nostalgia for Austria. The former "Grand Hotel" of Bad Gastein would have been one of the models of "Grand Budapest Hotel" and in this film, the pastry shop "Mendl" is an anagram of "Demel". The poster of "The Fantastic Mr. Fox" also adapted a picture of the KHM. At their first exhibition, Anderson and Malouf offer the public a new look at the museum, time for a visit and personal research, because they deliberately ask the visitor to choose the objects, what would you choose?

("Die Presse-Kulturmagazin", 19.10.2018)