Music Of the Night 2017

Editor: So this is Michael Cheval's "Music of the Night," painted in 2017, with acrylic paint. It definitely has this strange, whimsical feel. The figures with their ruffs and peculiar hats look like they belong in another era, or maybe another world entirely. How do you interpret this piece? Curator: It's fascinating how Cheval combines historical costume with such fantastical elements, isn’t it? It prompts questions about the role of performance and masquerade within societal structures. Note the masks; they hint at hiding and revealing identity simultaneously. Who gets to perform and be heard in society, and what masks do they have to wear? Editor: That’s a great point about the masks. They're not just decorative, they create this sense of detachment, almost like puppets. I didn't notice the faces in the background initially... Curator: Exactly. The environment itself seems to be watching, judging. And the oversized instruments – the leaf-harp, for instance – speak to the manipulation of nature for artistic and potentially societal purposes. Think about whose voices are amplified, and whose are stifled in a given historical moment. Is Cheval commenting on this? Editor: I see what you mean. The music, then, isn't just aesthetic; it’s about power and control, perhaps even about shaping collective thought. Curator: Precisely. It brings to mind the historical use of art as propaganda, the way music and visual spectacle have been deployed to influence public opinion and solidify existing power dynamics. It’s interesting to consider Cheval positioning us, the viewers, in a potentially critical role by revealing these undercurrents. Editor: That's made me look at the painting very differently. The playfulness initially masked a potentially darker commentary on societal performances. Curator: And that's the beauty of art, isn’t it? It allows us to examine the familiar in new and challenging ways. Editor: Absolutely. Thanks; I’ll never look at a ruff the same way again!