We can find in history many experiments whose focus is the idea or discourse of the author more than the work of art, or vice versa. Sometimes the emphasis is on the object and sometimes on the idea. This has gone so far as to, in my view, create instances that are nothing if hilarious. Thus, there is be nothing peculiar about thinking that the empty chair the museum guard left when going into the bathroom can be or not a work of art. In this sense, the remains of a performance are made to look as works of arts, as if they were some kind of relic. For example, if an artist burns newspapers, the exhibit consists of photographs or videos depicting the action and also a display of the ashes that are made to look as a work of art in itself, thus able to be sold at very high prices. It is my view that the ashes are not a work of art, but souvenirs of the art object that is in fact the performance. In this manner we can see that on many occasions that which is exhibited is not of interest, the important fact is that it should be legitimized.
It is my view that any value –I am not thinking in monetary terms- we bestow on an artistic object hangs from a very thin string. The question is, how do we decide when something is art? The dividing line between a work of art and that which is not, or that which is fine art and mediocre art, is very confusing. The focus of my work is this frontier and the surrounding territory that serves to legitimize it.
Due to this prevailing ambiguity, an object can both be displayed in an altar or take its place in the garbage heap. I focus my work with humorous and sometimes satiric vent on existing works of real authors or invented works of fictitious authors, or on the work of real persons whose intention was to create art. My purpose is to make the spectator hesitate between what is real and what is not, and thus, to question the validity of the artistic object and the systems that define it as such.
Artist Bio / CV
Franco Aceves Humana. (México en 1965). Ha expuesto de forma individual en galerías de E.U.A. Costa Rica, Italia. España y por supuesto México, donde también lo ha hecho en importantes museos.
Ha participado en más de 80 exposiciones colectivas tanto en México como en el extranjero, entre las que se incluyen varias bienales nacionales e internacionales. Su obra forma parte, entre otras, de las siguientes colecciones públicas: Museo Nacional de la Estampa, México D.F, Instituto de Artes Gráficas de Oaxaca, Oaxaca, México, Museo de Arte Contemporáneo Carrillo Gil, México D.F, Museo Universitario Contemporáneo de Arte, UNAM, México D.F, Museo de Arte Moderno, México D.F.