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jimmie durham - the beneficial catastrophe of art

fondazione morra greco - nápoles
junio 29 - septiembre 7, 2019
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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

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jimmie durham, vista de instalación de the beneficial catastrophe of art, fondazione morra greco, nápoles, 2019

The catastrophe of art does not resemble the simple disaster of passing time, it does not mimic the potential tragedy, but rather operates on the potential to develop a movement that identifies it and separates it into an estranged and alienating image. If ruin produces a negative state of mind, the work of art instead produces wonder. The thaumàzein, the wonder, is the condition of aesthetic contemplation in front of a different reality, intensified by the introduction of an element that is extraneous to things. “In every genuine work of art there is something that is not there” (T.W. Adorno) as demonstrated by Jimmie Durham with “Elephant Skull Study # 2” (2012).

 

-Achille Bonito Oliva

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