"Robert Filliou 19" Painting by Davis Lisboa

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Davis Lisboa, “Robert Filliou 19”, 2019, oil on canvas, 15.7 x 15.7 x 1.57 in (40 x 40 x 3.5 cm)
Davis Lisboa, “Robert Filliou 19”, 2019, oil on canvas, 15.7 x 15.7 x 1.57 in (40 x 40 x 3.5 cm)
Davis Lisboa, “Robert Filliou 19”, 2019, oil on canvas, 15.7 x 15.7 x 1.57 in (40 x 40 x 3.5 cm)
Davis Lisboa, “Robert Filliou 19”, 2019, oil on canvas, 15.7 x 15.7 x 1.57 in (40 x 40 x 3.5 cm)

Art Description

Painting: Oil on Canvas.

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THE PAINTING SECTION FROM DAVIS MUSEUM

The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona

Davis Lisboa, “Robert Filliou 19”, 2019, oil on canvas, 15.7 x 15.7 x 1.57 in (40 x 40 x 3.5 cm)

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INTERVIEW

What/who inspired the work?
Conceptually, I was inspired by "Autoportrait bien fait, mal fait, pas fait" (Self-Portrait Well Made, Badly Made, Not Made), assemblage, 1973, by Robert Filliou (Sauve, France, 1926 - Les Eyzies, France, 1987).

Robert Filliou’s work was born of the art/life interconnections that came about from the late 1950s onwards, and really took off as part of the living, anti-art, anti-commercial driving force that was Fluxus. As Filliou himself said: “Art is what makes life more interesting than art.” Authorship, much-reviled artistic “taste” and the very existence of the artwork are all challenged with gestures not far from the Marcel Duchamp ready-mades. The work consists of a photograph of the artist wearing a paper hat (an inescapable iconic reference to puppet regimes and fake authority), an empty wooden box and the back of a canvas bearing the hand-written inscription “Portrait de l’artiste”. Autoportrait bien fait, mal fait, pas fait (Self-Portrait Well Made, Badly Made, Not Made) is an ironic comment on the artwork’s iconic character, by means of a triptych created to ridicule both the artist himself and his creation. An addition to the old academic idea of art being “well” or “badly” made is the concept of it being “not made”, as a recognition of inactivity or a reminder of the progressive disappearance of the artist as he had been conceived up to that point, or of the dematerialisation of the work of art as actions are pursued that expand the traditional physical frameworks of art.

Formally, I was inspired by the German painter Gerhard Richter, who began in 1960's to create his iconic photographic paintings. From a collection of photographs that he added throughout his life - from press clippings to family photos - Richter projected and drew the images on a canvas. In the process of recreating the photos, he erased the images, leaving the subjects unidentifiable.

What do you hope its viewers will feel/think?
I hope that viewers understand that there is a narrative within the history of art that deals with the artists who created their own museums. This narrative is constructed through Marcel Duchamp (Boîte-en-valise, 1936-1941), Robert Filliou (La galerie légitime, 1962-1963) and Marcel Broodthaers (Musée d'Art Moderne, Département des Aigles, 1968-1972) . Following this narrative, I decided to create the Davis Museum, The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona (2009-ongoing), which is, simultaneously, a readymade sculpture, a non-profit collective art project, and at the same time, a cultural entity recognized by the Generalitat de Catalunya (an Autonomous Community in Spain).
Created symbolically in an electoral ballot box and disseminated mainly through Facebook, the Davis Museum is also the smallest contemporary art museum in the world.

Why did you choose the medium, the frame format and color?
I chose oil on canvas because I am interested in painting not only because of its versatility as a medium but also because of its rich historical repository of images and ideas. Only the best materials have been used: linen fabrics, Blockx essence of turpentine and linseed oil and Old Holland oil paintings. As the Davis Museum is a cube, I chose the frame of the paintings to be square. And since the Davis Museum's brand color is blue and white, I chose to have the same color in the paintings.

This is the only section from Davis Museum where works of art are on sale. Support this art project by buying now this painting on Saatchi Art.

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THE PAINTINGS FROM DAVIS MUSEUM IN PRIVATE COLLECTIONS

The Alejandro Vásquez Herrero Collection, Viladecans, Spain.
The Daniel Marcoux Collection, Montreal, Canada.
The Francesc Torres Collection, Barcelona, Spain.
The Geert De Kegel Collection, Zele, Belgium
The Yellowstone Club Collection, Big Sky, Montana, USA.

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"Robert Filliou 19"

Davis Lisboa

Spain

Painting

Size: 15.7 W x 15.7 H x 1.6 in

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