"At the core of Tate Modern's exhibition Theatre Picasso, opening this week, is a painting that Picasso esteemed more highly even than Guernica (1937). Picasso told Roland Penrose that he much preferred The Three Dancers (1925) to his anti-fascist opus, because it is "a real painting-a painting in itself without any outside considerations". Tate is marking the painting's 100th anniversary with a show that includes its entire Picasso collection as well as major loans, but with a fresh perspective courtesy of its staging by the artist Wu Tsang and the writer and curator Enrique Fuenteblanca. By inviting contributions from contemporary dancers and choreographers, the duo will open up fresh interpretations of a masterpiece that has already proved inexhaustibly fascinating."
"I recall being utterly confused by it, lacking the skills to see much beyond what I perceived to be its ugliness. It was hard to make sense of the central pink dancer, despite its relatively coherent bodily form, but the Cubist planes of the figure at the right, with its tiny head overshadowed by a giant black profile, and the frenzied fracturing of the woman at the left, seemed impenetrably abstracted."
Tate Modern’s Theatre Picasso centers on Picasso’s The Three Dancers, a work Picasso preferred even over Guernica because he considered it “a real painting-a painting in itself without any outside considerations.” The museum marks the painting’s 100th anniversary by presenting its full Picasso collection alongside major loans and a new staging by Wu Tsang and Enrique Fuenteblanca. Contemporary dancers and choreographers are invited to contribute reinterpretations that aim to renew understanding of the masterpiece. The Three Dancers also functions as an emblematic, formative encounter for a viewer who first saw it in a school art room, initially finding it confusing and impenetrably abstracted.
Read at The Art Newspaper - International art news and events
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