THE INVISIBLE M2 ARTISTIQUE
September 23, 2011
The information was kept until the day given in the greatest secrecy. The French artist Fred Forest, enfant terrible of contemporary art (http://artforum.com/news/week=201103) exhibited at MoMA a M2 invisible. The implementation of the work done by the artist himself will take place on September 23 as a tribute to the late Pierre Restany. Time for
installation will be disclosed at the last minute by flashsmob. The work in question consists of a field frequency of 20,000 Hertz, poses no health risk to users. Four mobile transmitters, equidistant from one meter by one meter will be set up. This work also presents the advantage of being moved to different locations of the museum and it safely, for four persons of average build. The work itself can be moved at the request of visitors will come to them according to their path, as it were to meet them in a simplified protocol. Without having to make a prior request from the administration of the MoMA. Collectors and institutions interested in practicing able experience on the opening day. And to acquire the work on site, for an amount equivalent to 'Kiss' Tino Shehgal the MoMA, or "The
situation" by the Centre Pompidou, 100, 000 dollars, negotiated price + an extra dollar . The dollar, in any reconnissance practice of
Fred Forest, which has priority over that of a Tino Sehgal. What art historians, with their knowledge,
are not supposed to ignore.
The initiative of the artist responded favorably to the breath of a new spirit that animates the prospective managers of the museum. Which one of them, to justify the acquisition
of @ and The Kiss of Tino Sehgal said publicly to anyone who will listen without any modesty: "While facilities for Decades Have Provided museums with interesting challenges Involving acquisition, storage, reproducibility, authorship,
maintenance, manufacture, context-even questions about the essence of a work of art in Itself-MoMA curators Recently Have Ventured Further, A Good example Is the recent acquisition by the Department of Media and
Performance Art of Tino Sehgal's Kiss the performance.
We look forward course with Tino Sehgal and especially its gallery Marian Goodman of this initiative, a major museum, as MoMA, which gives a good example, opening the market to other forms of diverse kinds of goods.
Yet five types of subsidiary remarks come to mind:
The first: why the museums he waited almost half a century to bring this kind of works in its collections? Neglecting, for several decades, similar works, ignored, artists already confirmed yet? Is the weight of the institution that is the cause of considerable delay? Is this inertia conservatives themselves?
or, again, their lack of curiosity or to see more of their ignorance?
• The second: why today the selection of Tino Sehgal, a work that does not benefit from additional prior art in this area? and why not that of any other artist in history with any weight?
• The third: beyond an arbitrary, purely subjective, what are the scientific criteria in terms of art history that have made this choice to preside over another? ? ?
• Fourth, what was the amount of this acquisition? and how it was determined for a specific work not yet having trading on the art market? Would it be a unilateral decision by officials of
the museum, in fact, legitimate goods by the surety to give, while they decide the price? As judge and
jury, do not they fall within the scope while the law for breach of ethical rules governing trade rules?
These are questions raised by the work-system invisible form of M2 invisible as you can all come and see at MoMA on September 23, and if you are not a seasoned collector with deep pockets, you can make the acquisition during his visit for the duration of your itinerary in the museum.