"Props. Decoys. Small, anonymous, more or less identical objects. Small, blank, solid stand-ins for framed images. Solid-state simulacrum of paintings. Fools-gold versions of painting. Plaster surrogates. Surrogate paintings. Surrogates of surrogates. Signifiers of signifiers. Pseudoartifacts. Archetypally cultural objects. Little nonimages. Little model paintings. Generic paintings. Vacant paintings. Empty cases of paintings. False pictures." (daqui)
"I was trying to reproduce that picture of an art gallery in three dimensions, a tableau. So with the Surrogate Paintings the goal was to make them function as "props" so that the gallery itself would become like a picture of a gallery by re-creating an art gallery as a stage set. To me this was a clear representation of the way paintings looked in the world irrespective of whether there's a "representation" within the painting or not. Also there was a kind of theatrical motivation, maybe a Brechtian motivation, in which I wanted the viewer to be self-consciously caught up in the act of wanting to see a picture. So in a sense the emotional content of these "Surrogate Paintings" involved the desire to look at a picture. I was trying to trigger that desire by reproducing that entire tableau within which the viewer would be aroused to desire a picture, but at the same time not fulfilling that desire so that, again, the viewer would be caught in the act of experiencing this desire." Allan McCollum, a entrevista toda, aqui.
porque tenho andado em pic-meaning-pic-meaning-pic-meaning(?).
2 comments:
uma tentativa de representação muito Slobodjiano, não?
à primeira vista (não-vista), pois sim. à segunda, talvez.
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