Boston – The art world is in an uproar, and not just because of the shine, but also because of the smell. Darius – an artist with no last name but plenty of opinions – is bringing his latest exhibition to Boston. The exhibition is titled “The Essence of Existence (Literally).” Yes, it is exactly what it sounds like.
The centerpiece of the exhibition is a piece titled “Le Délice Doré” – which sounds elegant and looks like a dinner for high society – at least at first glance. A flawlessly laid table, shiny cutlery, sparkling crystal glasses.
But in the center: a gilded dog turd, draped on a plate with a gold rim, as if it were a Michelin-starred dish. Next to it, a glass with a yellow liquid that, let's say, looks suspiciously real.
“It's about consumption and the value we ascribe to things,” explains Darius, with an accent that makes the word avant-garde sound like a gong. ”Why do we gild the banal? Why do we drink the poison of our own vanity?”
Darius, who stands out with his small stature and grand gestures, emphasizes that his exhibition is intended to “transform the banal, everyday products of life into a deep, avant-garde (he says: a-vahn-gaahrrrd) reflection on our existence”. In other words, he exhibits objects that would normally take the final journey down the drain or into the trash can.
“Art is born where courage meets truth,” Darius explains in his inimitable way, while proudly pointing to a sculpture called Toilet of Humanity, which is made from recycled drain pipes and – yes, really – gold-colored toilet paper.
But not everyone is impressed. Critics accuse Darius of offering only provocation without substance. “It's literally garbage,” said an anonymous gallery visitor who secretly put a clothespin on his nose. Darius confidently counters, “It's art because I'm an artist – and that's reason enough.”
Darius is particularly proud of his work The Inner Cycle, an interactive installation that invites visitors to sit in a giant, elaborately designed toilet bowl and reflect on their own lives. “It forces people to deal with what they let go,” he says, nodding meaningfully.
Opinions are divided on whether it is profound or just disgusting. “I understand his message. It's like Duchamp – but... more offensive, ‘ says a curious visitor who carefully keeps her distance from the installation. Others shake their heads: ’It's not enjoyable art, it's a bad joke,” says a gallery owner who wishes to remain unnamed.
Darius, on the other hand, remains unimpressed. “Art should provoke. If you feel disgusted, I've achieved my goal,” he says, and – ironically – passes around a box of chocolates.
The exhibition is on display in Boston for two weeks, and although some people come with nose clips already, the response is enormous. “I was skeptical, but frankly: it's funny, it's different, and somehow it makes you hungry. But not for what he serves,” jokes one visitor.
Whether the exhibition is a revolution of the avant-garde or simply a shitty experiment remains to be seen. One thing is for sure: Boston will never be able to talk about art again without wrinkling its nose – out of reverence or something else.
A Juicy side detail: at the unveiling, the artist dedicated the work to his muse in a rather prominent way, whereupon she abruptly left the exhibition with her colorful robes flying.
Kommentar hinzufügen
Kommentare