Page 89 - Metropolis Magazine nº115

because it approaches Gauguin the time, depending on the era, the
in his ambiguity as a dominant, criticism has varied: in the 1950s,
anti-colonialist, and ecologist he was glorified; in the 1960s, the
from all sides, some potentially feminists came along and used
controversial. This ambiguity has his figure to denigrate him; in the
been incorporated into the film. 1980s, the post-colonialists came
What you have these days is a kind along and criticized him; in short,
of cultural blindness that wants all the decontextualized views
to cancel out certain figures. And don't look at the work as much as
the film has suffered from this in the writing or the canvases, which
some forums or in some selection is where they should be looking,
committees here and there. They by the way. But they look at a very
use the simple excuse that it's a specific cultural context of our
controversial subject and they time and evaluate things from
don't want any issues to arise. that point of view. I would like
Paul Gauguin, at the moment, is the movie to break with this issue
a highly problematic figure in the and this problem. But, I reiterate,
visual arts. However, Gauguin's the film has had this circulation
status remained unchanged problem because of it. This has led
throughout the 20th century! All to several vetoes.

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