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„Rubens
2.0 –
The Eagle of Representationalism “ 2003
(68 x 98cm, Oil on Canvas)
Rubens “Prometheus Bound”, created 1612-1618, is a great picture in a large format (seize of the original: 244 x 209.5 cm). Unfortunately, however, in many cases the modern observer lacks the obligatory background knowledge required for the reception of a historical picture. Here, this is the ancient myth of Prometheus: He dared to steal the gods’ fire and to give it to the humans. For this deed, the gods chained him to a rock where each and every day an eagle tears out his liver which has grown again over night.
Hence, to replace the historical iconography by a modern one suggests itself. The modern iconography is delivered by the Prometheus of modern art: Picasso, who brought the marketing of abstractions to the humans and consequently is attacked by the eagle of representationalism. To make this update rise above the level of a parody to a higher meta-level, in 2003 this picture became the object of a performance at the University of Bielefeld (Germany). This kind of art is thought of as an extension of the original concept of art, be it representational or abstract. As a matter of fact, in the early 21st century performances are no longer able to shock anybody. But, according to their definition, they should be able to do so. In the course of the mentioned action, however, it became obvious that pragmatically scribbling onto an oil painting with a waterproof marker pen is an exception to that rule. Today, the inscription no longer is legible. Soon it will be replaced by oil.
The text reads:
“The lions said, O raven, sire,
A performance we desire.
But precisely which one we don’t disclose.
Thus the raven speculated
And a poem was what he then chose
For that was what the peacock would have created…”
(Here follows a mind-map on the topic “performance”, comment of the author)
“For the eagle, this was snobbish way too much,
So on art he had a grudge.
Swiftly the eagle made Picasso his game,
The lions are the ones to blame.”
(68 x 98cm, Oil on Canvas)
Rubens “Prometheus Bound”, created 1612-1618, is a great picture in a large format (seize of the original: 244 x 209.5 cm). Unfortunately, however, in many cases the modern observer lacks the obligatory background knowledge required for the reception of a historical picture. Here, this is the ancient myth of Prometheus: He dared to steal the gods’ fire and to give it to the humans. For this deed, the gods chained him to a rock where each and every day an eagle tears out his liver which has grown again over night.
Hence, to replace the historical iconography by a modern one suggests itself. The modern iconography is delivered by the Prometheus of modern art: Picasso, who brought the marketing of abstractions to the humans and consequently is attacked by the eagle of representationalism. To make this update rise above the level of a parody to a higher meta-level, in 2003 this picture became the object of a performance at the University of Bielefeld (Germany). This kind of art is thought of as an extension of the original concept of art, be it representational or abstract. As a matter of fact, in the early 21st century performances are no longer able to shock anybody. But, according to their definition, they should be able to do so. In the course of the mentioned action, however, it became obvious that pragmatically scribbling onto an oil painting with a waterproof marker pen is an exception to that rule. Today, the inscription no longer is legible. Soon it will be replaced by oil.
The text reads:
“The lions said, O raven, sire,
A performance we desire.
But precisely which one we don’t disclose.
Thus the raven speculated
And a poem was what he then chose
For that was what the peacock would have created…”
(Here follows a mind-map on the topic “performance”, comment of the author)
“For the eagle, this was snobbish way too much,
So on art he had a grudge.
Swiftly the eagle made Picasso his game,
The lions are the ones to blame.”