"Robert Filliou 20" Painting

--------------------------------------- THE PAINTING SECTION FROM DAVIS MUSEUM The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona Davis Lisboa, “Robert Filliou 20”, 2019, oil on canvas, 19,68 x 19,68 x 1,57 in (50 x 50 x 3,5 cm). --------------------------------------- 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 to create his iconic photographic paintings. From a collection of photographs that he added throughout his life, from newspaper clippings to family photos, Richter projected and drew the images on a canvas. In the process of recreating the photos, he deleted the images, leaving the subjects unidentifiable. I was also inspired slightly in the first cubist portraits of Pablo Picasso from 1909. What do you hope its viewers will 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. This cultural entity has several sections and one of them is "The Paintings Section From Davis Museum". It is divided into portraits and still lifes. The portraits represent Marcel Duchamp, Robert Filliou and Marcel Broodthaers; while still lifes represent the "Boîte-en-valise" (Box in a suitcase), the "Galerie légitime" (Legitimate gallery) and the "Musée d'Art Moderne, Département des Aigles" (Museum of Modern Art, Department of Eagles). Why did you choose the medium, the frame format and the 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 for this work: linen canvas, oil paintings by Old Holland and medium by Blockx. As the Davis Museum is a cube, I chose the frame of the paintings to be square. I chose the gray color for the paintings from 2011 to 2016. Then, the blue color for the paintings from 2016 to 2018. And I chose the combination of blue and yellow colors for the paintings from 2019 to the next. “The Paintings Section” is the only section from Davis Museum where works of art are on sale. Support The Davis Museum art project by buying now this painting on Saatchi Art. How will your artwork be packed for a movement? Artwork will be guaranteed to be shipped in accordance with high security standards, so that your shipment is as safe as possible while traveling from the artist's studio to your museum, gallery, hotel, business or home. For this, your oil paintings on canvas will be sent unrolled, stretched out on a wooden frame, flat, without frames and any special assembly. The packaging of wrapped canvases consists of: · An acid-free archival quality glassine paper cover · Two sheets of Foam boards · A sealed heavy plastic bag (to protect against moisture) · Two layers of bubble wrap and secure with tape · Cardboard protectors to each corner of the oil painting · Two other larger sheets of Foam boards · A sturdy cardboard box marked as "Fragile" Davis Museum Paintings Section in Private Collections Alejandro Vásquez Herrero Collection, Viladecans, Spain. Daniel Marcoux Collection, Montreal, Canada. Francisco Torres Collection, Barcelona, ​​Spain. Geert De Kegel Collection, Zele, Belgium. Soter Argyrou Collection, Nicosia, Cyprus. The Yellowstone Club Collection, Big Sky, Montana, USA.

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:19.7 W x 19.7 H x 1.6 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.