The Story of the Missing Fontana
In the early noughties, art dealer Michele Casamonti was invited by a collector to take a look at his Lucio Fontana. What followed is a decade-long, extraordinary research project that led to the authentification of a major piece..
David Hammons - Bli-zaard Ball Sale (1983)
"The photos portraying Hammons with his neatly arranged rows of snowballs for sale are probably the most frequently reproduced images in the artist’s oeuvre. The piece has become iconic, the single ephemeral work – a work that is essentially about ephemerality – that has come to stand for his entire practice.”
When ancient classic greek art meets a greek young artist of the future.
The edition contains all three Statues, remade at very high resolution especially for The File Arts. Also included are wallpapers, a PDF and a Certificate of Authenticity: View Statues on The File Arts
Gregor Schneider is an artist with an obsession for the elaboration and the reconstruction of spaces, with the aim of questioning common notions of domesticity or leisure. His works often play with uncanny feelings related to those areas of a house we don’t really know or inhabit, like corridors, basements, inside of closets, interstitial spaces, and with the memories these spaces may carry with them.
The work underlines the conformity of common leisure by superimposing the image of detention camps with that of relaxed – vacation setting. People are confined in their enjoyment and forced to reason about the ambiguity of a country which applies a very strong stance against those trying to reach it illegally.
“21 Beach Cells can be seen as contradictory: on the one hand, the cells are open and contain a lilo and umbrella – all the comforts of beach enjoyment, but as cells, they potentially enclose beach space and evoke dark associations of detention centres and disharmony. Importantly, the cells don’t force us to enter, in fact we can choose to take advantage of the cell’s facilities.”
Dora Budor hires professional stunt double Helga Wretman in a series of three action packed videos and co-related paintings. The main character finds herself repeatedly in dangerous, heart-pounding scenarios: a wilderness chase scene, a rooftop fight, and a car chase. All the while, she carries a newly stretched canvas that becomes damaged by her struggles to escape an invisible assailant. Employing the labor of a hired stunt double and utilizing the tropes of Hollywood action cinema, each of the videos is articulated as the making-of footage to final pieces. The paintings themselves become one of a kind “screen-matched” props, gradually corrupted as they are burned, ripped, and soiled. Incorporating both A and B-roll footage, objects are indexically marked by violence, while characters double each other in fragmented narratives.
The perpetual state of anxiety and escape from a dominant surveillant class, as deployed in many recent blockbuster hits, is extracted from its oppositional means and restaged as a form of contemporary artistic production—impelling emergency, violence and vulnerability as generative forces. There is no other place or exit; the continuous loop of the action scenes manifests a recursive meditation on confluent acts of violence, labor, and production. The objective insufficiency of the vacant canvases fosters their emergence as ciphers for concomitant subjective lacks. As narratives collide, produce and inscribe these processes for the camera, anticipation of the canvas as a site of personal investitures succumbs to the logics of automation and repetition, while body doubling links a schizoid reality with the accelerating fragmentation of virtual and real.
- Alex Ross
Thanks; I wanted to name my art blog something cool, and in that time I was very into The White Stripes (yes my blog is old) and I liked their ‘sympathy for the recording industry’ as a play on ‘sympathy for the devil’ by the rolling stones, but also as am acknowledgement that the recording industry is dying. I think art is in the same transitory phase as the recording industry so we should have some sympathy for the art gallery, although it can also be a devil and maybe it is not so bad that more and more shifts to online :-)