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Luis Molina-Pantin. Chelsea Galleries: SOLO SHOW

Past exhibition
2 March - 20 April 2006
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Luis Molina-Pantin. Chelsea Galleries, SOLO SHOW
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His recent research adds new elements to the reflection on the contemporary art system, of an aesthetic and economic nature, documenting the progressive disappearance of art, induced by the abuse of the artist, by the domination of economic reasons, by the WOW factor. The strategy is to put the system in check, revealing and neutralizing it through a self-referential paradox, an accident, a short circuit: an exhibition of galleries in a gallery.

 
After having dealt with the impossibility, from the contemporary artist's side, to tackle the classical genres of landscape, portrait and reality, Chelsea Galleries almost represents the solution to the mystery. If art has disappeared, where has it gone? The New York neighbourhood of Chelsea, considered the coveted mecca of all artists, absurdly embodies the true essence of art today.
 
Chelsea gathers the headquarters of the major art galleries in the world, multinationals whose brand represents -on the market that aims to match economic and cultural value- the only guarantee of the quality of the work of art. The importance of the gallery has replaced the importance of the work itself.
 
Taking good note of the dissolution of the work of art in the aesthetic reality induced by the pervasiveness of the media (Jean Baudrillard), Molina-Pantin created a series of photos that, out of any aesthetic transfiguration, merely represent the Chelsea galleries. Stolen photos, made with the approach of the paparazzo who undermines the celebrities.
A collection that points to the reception areas as command bridges from which the machine that generates the value of art is governed, with the artists archived according to standards and conventions, inside black books with white labels, placed in a row on the shelves.
 
ITALIAN / ITALIANO
 

La sua recente ricerca aggiunge idealmente nuovi tasselli alla riflessione sul sistema dell’arte contemporanea, di natura estetica ed economica, documentando la progressiva sparizione dell’arte, indotta dalla prevaricazione dell’artista, dal dominio della ragion economica, dalla spettacolarizzazione. La strategia è quella di mettere in scacco il sistema, rivelandolo e neutralizzandolo attraverso un paradosso autoreferenziale, un incidente, un cortocircuito: una mostra in galleria di foto di gallerie.


Dopo aver trattato l’impossibilità, da parte dell’artista contemporaneo, di affrontare i generi classici del paesaggio, del ritratto e della realtà,
Chelsea Galleries rappresenta quasi la soluzione del mistero. Se l’arte è sparita, dov’è finita? Il quartiere newyorkese di Chelsea, considerato la mecca ambita da tutti gli artisti, assurdamente incarna oggi la vera essenza dell’arte.


Qui hanno sede le maggiori gallerie d’arte del mondo, multinazionali il cui marchio rappresenta, sul mercato che ambisce a far corrispondere valore economico e culturale, l’unica garanzia di qualità dell’opera d’arte. La centralità della galleria ha sostituito la centralità dell’opera.


Preso atto della dissoluzione dell’opera d’arte nella realtà estetizzante indotta dalla pervasività dei media (Jean Baudrillard), Molina-Pantin ha realizzato una serie di foto che, fuori da ogni trasfigurazione estetica, rappresentano meramente le gallerie di Chelsea. Foto rubate, fatte con l’approccio del paparazzo che insidia le star.
Una raccolta che censisce le reception come ponti di comando dai quali si governa la macchina che genera il valore dell’arte, con gli artisti archiviati secondo standard e convenzioni, all’interno di book neri con l’etichetta bianca, posti in riga sugli scaffali.

 

Luis Molina-Pantin – Gallerie di Chelsea, Testo di Alfredo Sigolo. Inaugurazione: 2 marzo 2006 ore 19:00
Fino al 20 abrile
Federico Luger gallery, Via Felice Casati 26, Milano 20124 (porta Venezia) visitabile dal martedì al venerdì dalle 15:30 alle 19:00

  • LINK TO TEXT OF ALFREDO SIGOLO

Related artist

  • Luis Molina-Pantin

    Luis Molina-Pantin

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