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In one of the papers recently she’d seen a picture of what looked like a wall of people standing in front of the wall on which the Mona Lisa hangs in the Louvre. She’d seen, herself, the actual Mona Lisa, but back before she’d had Arthur, which made it three decades ago, and it’d been hard enough even then to see anything of it because of the quite large mob of people standing in front of it taking its photo. It had also been remarkably small, the masterpiece, a lot smaller than she’d expected such a famous masterpiece to be. Maybe the crowd in front of it had made it seem smaller to the eye.But the difference was that the people standing in front of it now were no longer even bothering to turn towards it. They mostly had their backs to it because they were taking pictures of themselves with it; these days that old painting was smiling in its superior way at people’s backs, people with their phones held up above their heads in the air. The people looked like they were saluting. But saluting what?
The space in front of a painting where people stand and don’t look at it?
Themselves?
Суровая зима. Мир съеживается, все оголяется, то, что было ранее невидимым, становится видимым. То, что скрывалось, вспыхивает огнем. Али Смит воссоздает стремительно меняющийся мир, где корни бытия: смех, любовь, искусство — не всегда открыты нашему глазу. В эпоху постправды не только про-шлое, но и будущее кажутся не тем, чем есть. Зима — это сезон, который учит нас выживанию.