The Current Sensation of Van Gogh, The Soon Forgotten Scam of the Beltracchi’s, and The Future Success of Hilma af Klint
Paper at the Third Meeting in the Research Network What Images Do, Düsseldorf, 11—13 November 2013.
When I decided to make the newly resurfaced Van Gogh the starting point of my talk here, I though, naively it turned out, to be on the same wave length as the present one could get. With the recent case of the Gurlitt discovery in an apartment in Munich, I have to admit that I am as much in delay as most artists are according to the ultracontemporary artist Thierry Geoffroy a.k.a. Colonel.
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ART = RETARD Colonel producing canvas for the Delay Museum PS1 / MOMA, 2007.
For a moment I thought about shifting my point of departure to this “Der Fall Gurlitt” on the basis of it being a “sensation” more “current” than the already delayed news of a rediscovered Van Gogh painting, but I will stick to my original design, as the argument about the current sensation of the Van Gogh rediscovery, as the even more current and even more sensational Gurlitt rediscovery, in both cases is that it is neither current, nor sensational, but on the opposite: that these rediscoveries, resurfaces and re-attributions are systemic intrinsic in the way images becomes visible as art, and maybe even as images.The Current Sensation of Van Gogh
In september 2013 the director of the Van Gogh Museum in Amsterdam could proudly present for the press a “once in a lifetime experience”: the rediscovery of a Van Gogh from his greatest period when he lived in Arles and painted works such as The Yellow House or The Sunflowers.Fatal error: Cannot redeclare resize() (previously declared in /home/www/portheim.org/pub/imagecopyresampled.php:17) in /home/www/portheim.org/pub/imagecopyresampledpng.php on line 44