Similarly, the artist also riffs on persistent art-world questions. Not that García Torres is bitter - it’s just one of the risks he incurs by making conceptual art. “I talked to a few people when I was doing the thing and they said: ‘For sure they will respond this is Switzerland what are you talking about?’ Somebody told me that the guy who was choosing the director pretended to present it as a piece.” “I got no response, which was very disappointing,” he said. He actually didn’t think he would get the job, he said, but he knew that the museum received the application because he sent it via FedEx. (The project was canceled.) And in “Cover Letter” (2011), García Torres applies to run the Kunsthalle Bern museum in Switzerland in the form of a slide show, with text at the bottom and images of him making a bouquet of flowers - a token of kindness. Atl)” (2005), a video of a canyon near Guadalajara that was the frequent subject of a famed Mexican landscape painter and was planned as the site of a new Guggenheim Museum. Throughout his practice, he has reflected on their politics and ways of rethinking what the museum is or could be. García Torres, who has had solo exhibitions at the Modern Art Museum of Fort Worth, Pérez Art Museum Miami, Museo Tamayo in Mexico City, TBA21 in Vienna and the Hammer Museum in Los Angeles, among others, is fascinated by museums. The show is not organized chronologically, and it seems to end up back where it started - or at least, that’s part of the web of tricks offered by this clever artist. The exhibition fills the Target galleries with sound installations, slide shows, videos and clusters of two-dimensional conceptual artworks.
Two of those pieces - the telegram and “Goodbye Goodbye” (2018), which uses archival film to create a story about the demolition of the old Walker building - relate to the Walker itself as an art institution. Curated by De Bellis with assistance from Walker curatorial fellow Fabián Leyva-Barragán, “Illusion Brought Me Here” presents 45 works of art from 15 years of the artist’s oeuvre. He’s never shown his work in Minneapolis, but the city is now host to his first career survey at a U.S.
#ART OF THE TRICKSTER FULL#
Such is the practice of the Mexico City-based artist, whose work is full of tricks, illusions, looping questions, investigations into otherwise obscure details and a fascination with the museum itself. What is the documentation of a work of art? When does an action actually become a work of art? Those are the questions implied in that telegram.” “It is kind of a joke, but at the end of the day it is not about the joke - it is about the expectation,” he said. There’s humor in this piece, which makes light of a question on many minds: Who will replace Olga Viso, nearly a year after her resignation was announced?īut that’s not really what García Torres meant. If he was wrong, García Torres would donate this telegram turned artwork - titled “The Walker Director Bet” - to the museum. He bet that the Walker would not hire a new executive director by the time his Walker exhibition opened Thursday.
The yellow paper, printed in Courier font, contained a wager.
28, artist Mario García Torres sent a telegram to Walker Art Center curator Vincenzo De Bellis.
0 kommentar(er)
