-188+x(Balzac)
This may or may not have been a Masterpiece.
Reading Master Frenhofer‘s words in Le Chef-d'œuvre inconnu vividly transports me to the dusty Parisian ateliers of velvet and muses of his time, yet propels a nearly automatic flash-forward to Danto’s Artworld ideas and, almost mandatorily, to Dickie’s Institutional Theory - both of which I can condone yet feel incapable of accepting unconditionally.
I believe a masterpiece which requires of the scrutiny of a “well-curated” public to be baptized as such may well have lost all its original charms when finally conferred the status of candidate for collective appreciation.
Which is why this painting was concealed in see-through paper and presented together with a sharpened knife.
/Note to self from this project (to be digested as warning if one should see it fit): there is something solidly satisfying (and possibly sane) in perpetuating the very nature of self-appointed grandiose, flamboyant works by keeping them in the peripheries.
Exhibited in -188+x(Balzac) Exhibition in Schloss Holdenstedt, Ülzen.
Acrylic, oil, and paper on canvas
2019
© 2020 Cora Marin | Berlin | contact@coramarin.com
-188+x(Balzac)
This may or may not have been a Masterpiece.
Reading Master Frenhofer‘s words in Le Chef-d'œuvre inconnu vividly transports me to the dusty Parisian ateliers of velvet and muses of his time, yet propels a nearly automatic flash-forward to Danto’s Artworld ideas and, almost mandatorily, to Dickie’s Institutional Theory - both of which I can condone yet feel incapable of accepting unconditionally.
I believe a masterpiece which requires of the scrutiny of a “well-curated” public to be baptized as such may well have lost all its original charms when finally conferred the status of candidate for collective appreciation.
Which is why this painting was concealed in see-through paper and presented together with a sharpened knife.
/Note to self from this project (to be digested as warning if one should see it fit): there is something solidly satisfying (and possibly sane) in perpetuating the very nature of self-appointed grandiose, flamboyant works by keeping them in the peripheries.
Exhibited in -188+x(Balzac) Exhibition in Schloss Holdenstedt, Ülzen.
Acrylic, oil and paper on canvas
2019
© 2020 Cora Marin | Berlin | contact@coramarin.com
