On April 7 at six o'clock in the morning, the fourth regiment of marine infantry parachute establishes its position at the museum Norbert Walsung. The first detachment under the command of Captain Speyer, displayed a security cordon around the central building, while three soldiers were walking to the entrance of the store. Hervé Berneuil housed the second detachment responsible for the protection of major works housed by the museum. He began by installing a machine gun near a giant sculpture of a burnt match, and then, realizing that the left side of the work was vulnerable, including two guards stationed armed with machine guns. He set up two mobile patrols to monitor the works of lesser quality. He sent a third to the control room, where we controlled the holograms and videos, it would be noted by the Engineer Battalion was to happen the next day. Finally, two scouts went in search of Sung-Jun, the highlight of the museum, so famous that its roadmap did not mention its nature or its location.
Every quarter of an hour, he took stock radio with Speyer, who worried about the shop, the terrorists claimed they did not tackle the "commodification of art"? Firecrackers, stink bombs or a bomb could easily hide among the gums, key chains and items stolen. Having given his orders to the sergeant in charge of the battery, Berneuil undertook, with the rest of his soldiers, the systematic exploration of other rooms. The ministry had recommended special attention to works disturbing, provocative and subversive. He spotted four toilet bowls seamlessly attached to a metal partition, although it evoked him, after all, that the communal latrines of the barracks, he decided they were sufficiently subversive, disturbing and provocative in order to post two pomegranate outfielders-equipped heavy helmets. Distributors of chewing gum filled with cigarette butts, beer caps, plastic packaging and fragments used tampons seemed rather a depressing banality. Even the museum had in Djibouti, and local authorities had publicly welcomed this flexibility into the Horn of Africa in Western modernity. There was a lot of scrap cars, scrap heap of shapeless mounds and other heterogeneous materials whose subversive, the deranged and provocativité were difficult to judge. Unable to interpret the vacuum in which these works lethargic plunged him, Berneuil decided to address the issue in a more military. All this was far too exposed, lacked coverage, the layout of the museum apparently unaware of security considerations. Some rooms were indefensible, they had too many doors and station troops there was dangerous because they risked being taken back. That is why he gave up defending four steel beams imbedded in gravel. This was a serious mistake, for though few provocative or subversive, four beams were other than the famous Sung-Jun, which had failed to report a sign not to be an affront to the reputation of the artist. However, he displayed a rocket launcher anti-tank next to a plantation of bamboo, because it was in the corner of a room easier to defend, without suspecting that he was not a work of art but a worthless element of decoration the museum. Similarly, he ordered commandos to protect four hyperrealist paintings representing the buttocks of a woman full of fat and lumpy as they bothered him, unaware that the living art of Deborah Gonzalez relegated these kind of anecdotal evidence to the rank of a past gone. In sum, it was easier to bombard the mujahedeen to analyze the fine developments in the forefront International.
After the attack against the exhibition of Deborah Gonzalez, the government had repatriated troops stationed in Djibouti to protect cultural sites. Among these, the museum Walsung was the most sensitive because, emblematic of the bold artistic policy of the State, he had already been attacked and it was rumored that the terrorists had slipped threats in an application for funding department. Immediately after the departure of the French, the combatants of Allah had captured three villages, engaged, according to some sources, to atrocious massacres which the press had not spoken.
Taking a stand in a museum of contemporary art akin to conquer a desert exposed to enemy attack. The rooms were immense works, often massive, very distant from each other. It was not enough to put a squadron at the foot of a sculpture totem seventeen meters high, it still had to ensure the top of the totem against projectiles: water bombs, Molotov cocktails, grenades ... Conversely, it was more easy to stack sandbags around a kind of twist of barbed wire which evoked a paraboloid hyperbolic or some other surface scholarship.
Moreover, the General Staff of the Army was studying seriously, in collaboration with the Ministry of Culture of Solidarity, the establishment of safety standards for visual work, which would make them less vulnerable to sabotage. Be deprived of state subsidies for designs which fail to adhere to these standards, which would sign their death art. Certainly, the collective would not fail to protest against this interference with the freedom of the artist, but the emergency does not justify it?
There was a tropical aquarium with colorful fish and playful snorted one of the finer fractal Pacific corals, and rightly Berneuil decided to leave it unprotected - located near the cafeteria, and too vivid and colorful for a contemporary work, the aquarium could not, according Berneuil that belong to the decor. In truth, planned for the site of a major bank, another client of Giant Construction, it was installed incorrectly, and the unions had refused to dismantle it. Felix Rocquencourt, embittered by its mediocrity, but wanted to blow up the financial controller refused to allow funding of such operation, while the safety commission was opposed because it would be too dangerous.
However, the huge white sheets hanging on a clothes line left him perplexed. Should this be seen as a work fraught with meaning, a tribute to the work of Mediterranean women, oppressed by millennia of domestication or a guardian he was staying nearby, enjoying the quiet hours to dry their clothes? Or, a collective of artists in search of self-recognition, the excluded protesting against the injustice of their plight, they came to occupy the premises?
In the latter case, what to do ? The General Staff had given any instructions. Speaking founder resumed full by the newspaper Le Monde, the head of government had argued that any transgression provided to help him build a better society. On the other hand, the squatters may have belonged to a gang of saboteurs, and it was then neutralized. Upon reflection, he sent a detachment of elite, armed infrared goggles, walkie-talkies and portable radars, looking for potential occupants.
could hear the hum of a helicopter from the naval air, equipped with missiles air-ground, flying over the museum. The engineer detachment had just arrived, having already installed four batteries of "Milan" to defend outside the museum. The next day, Felix Rocquencourt and a member of the General Staff inspected the troops.
Every quarter of an hour, he took stock radio with Speyer, who worried about the shop, the terrorists claimed they did not tackle the "commodification of art"? Firecrackers, stink bombs or a bomb could easily hide among the gums, key chains and items stolen. Having given his orders to the sergeant in charge of the battery, Berneuil undertook, with the rest of his soldiers, the systematic exploration of other rooms. The ministry had recommended special attention to works disturbing, provocative and subversive. He spotted four toilet bowls seamlessly attached to a metal partition, although it evoked him, after all, that the communal latrines of the barracks, he decided they were sufficiently subversive, disturbing and provocative in order to post two pomegranate outfielders-equipped heavy helmets. Distributors of chewing gum filled with cigarette butts, beer caps, plastic packaging and fragments used tampons seemed rather a depressing banality. Even the museum had in Djibouti, and local authorities had publicly welcomed this flexibility into the Horn of Africa in Western modernity. There was a lot of scrap cars, scrap heap of shapeless mounds and other heterogeneous materials whose subversive, the deranged and provocativité were difficult to judge. Unable to interpret the vacuum in which these works lethargic plunged him, Berneuil decided to address the issue in a more military. All this was far too exposed, lacked coverage, the layout of the museum apparently unaware of security considerations. Some rooms were indefensible, they had too many doors and station troops there was dangerous because they risked being taken back. That is why he gave up defending four steel beams imbedded in gravel. This was a serious mistake, for though few provocative or subversive, four beams were other than the famous Sung-Jun, which had failed to report a sign not to be an affront to the reputation of the artist. However, he displayed a rocket launcher anti-tank next to a plantation of bamboo, because it was in the corner of a room easier to defend, without suspecting that he was not a work of art but a worthless element of decoration the museum. Similarly, he ordered commandos to protect four hyperrealist paintings representing the buttocks of a woman full of fat and lumpy as they bothered him, unaware that the living art of Deborah Gonzalez relegated these kind of anecdotal evidence to the rank of a past gone. In sum, it was easier to bombard the mujahedeen to analyze the fine developments in the forefront International.
After the attack against the exhibition of Deborah Gonzalez, the government had repatriated troops stationed in Djibouti to protect cultural sites. Among these, the museum Walsung was the most sensitive because, emblematic of the bold artistic policy of the State, he had already been attacked and it was rumored that the terrorists had slipped threats in an application for funding department. Immediately after the departure of the French, the combatants of Allah had captured three villages, engaged, according to some sources, to atrocious massacres which the press had not spoken.
Taking a stand in a museum of contemporary art akin to conquer a desert exposed to enemy attack. The rooms were immense works, often massive, very distant from each other. It was not enough to put a squadron at the foot of a sculpture totem seventeen meters high, it still had to ensure the top of the totem against projectiles: water bombs, Molotov cocktails, grenades ... Conversely, it was more easy to stack sandbags around a kind of twist of barbed wire which evoked a paraboloid hyperbolic or some other surface scholarship.
Moreover, the General Staff of the Army was studying seriously, in collaboration with the Ministry of Culture of Solidarity, the establishment of safety standards for visual work, which would make them less vulnerable to sabotage. Be deprived of state subsidies for designs which fail to adhere to these standards, which would sign their death art. Certainly, the collective would not fail to protest against this interference with the freedom of the artist, but the emergency does not justify it?
There was a tropical aquarium with colorful fish and playful snorted one of the finer fractal Pacific corals, and rightly Berneuil decided to leave it unprotected - located near the cafeteria, and too vivid and colorful for a contemporary work, the aquarium could not, according Berneuil that belong to the decor. In truth, planned for the site of a major bank, another client of Giant Construction, it was installed incorrectly, and the unions had refused to dismantle it. Felix Rocquencourt, embittered by its mediocrity, but wanted to blow up the financial controller refused to allow funding of such operation, while the safety commission was opposed because it would be too dangerous.
However, the huge white sheets hanging on a clothes line left him perplexed. Should this be seen as a work fraught with meaning, a tribute to the work of Mediterranean women, oppressed by millennia of domestication or a guardian he was staying nearby, enjoying the quiet hours to dry their clothes? Or, a collective of artists in search of self-recognition, the excluded protesting against the injustice of their plight, they came to occupy the premises?
In the latter case, what to do ? The General Staff had given any instructions. Speaking founder resumed full by the newspaper Le Monde, the head of government had argued that any transgression provided to help him build a better society. On the other hand, the squatters may have belonged to a gang of saboteurs, and it was then neutralized. Upon reflection, he sent a detachment of elite, armed infrared goggles, walkie-talkies and portable radars, looking for potential occupants.
could hear the hum of a helicopter from the naval air, equipped with missiles air-ground, flying over the museum. The engineer detachment had just arrived, having already installed four batteries of "Milan" to defend outside the museum. The next day, Felix Rocquencourt and a member of the General Staff inspected the troops.
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