Exhibition

We will promote our brand through brand planning exhibitions

II. Everyday artworks: the validity of the art field

this direction is related to our concept "Tranlation".

Increasingly, everyday life is being incorporated into the exhibition space of art museums, democratising postmodern art in a variety of ways, including painting, photography and installation. The 'aura' of the mechanical reproduction era may not have dissipated, but instead of an angelic aura of religious sanctity, the 'aura' is an unsparing beam of light on the artwork. The light is scattered across the plain panels behind the exhibits, alongside a perhaps obscure but meaningful commentary, so that the familiar fragments or objects of everyday life are suddenly transformed into profound works of art. While the artistic field retains its validity, the everyday objects that enter it are alienated, distanced from the viewer and at the same time 'forced' to rethink - an irreplaceable sense of experience that comes from the artistic field.

As the French philosopher Deleuze explained the logic of 'sensation', the focus of contemporary art is on conveying a 'feeling' rather than on interpreting a meaning. Whereas meaning can only categorise, compartmentalise, rationalise, diminish - or in Deleuze's words, territorialise - the phenomena of decontextualisation and perfect richness, art is about constantly creating sensations to stimulate people to break out of the clichés of everyday stereotypes. We always need art to stimulate us to constantly reflect on our solidified and numbed lives and to stimulate the ability to feel them. "Seeing an exhibition is an opportunity to distance oneself from everyday life, to rediscover the feelings that young people of today do not realise when they are stuck in the mire of life. A single exhibition brings together countless individual feelings, and these rare experiences are a way to rethink and feel everyday life.

My Bed, Tracey Emin, 1998

One of the most extreme and controversial works of British contemporary art, My Bed by the British artist Tracey Emin, was created in 1998.

In that year, Emin broke up with her boyfriend and spent four days in bed, devastated. When she woke up, she transformed the bed she had slept in and the objects around it into an artistic creation, which she placed in the Tate Gallery. She displayed all the things that others would consider dirty or shameful, a messy unmade bed, used condoms, bloodstained underwear, sanitary towels, vodka bottles, empty cigarette boxes and broken slippers all piled up next to the bed. This work sparked a war of ideas among the British public at the time when it appeared.

Supporters said that the work revealed the artist's chaotic nightlife and showed the most unspeakable aspects of it as a confession, and that it was the most valuable aspect of the work. Critics, on the other hand, say that the author is being facetious in presenting his messy life, or that it is not a work of art at all, as it is too commonplace.

In response to the strong reaction to her work, Emin says: "I wonder where the morality and integrity of those people comes from. I didn't mean to shock people, I just wanted to achieve a dialogue with people."

Comedian, Maurizio Cattelan, 2019

A banana attached by strong adhesive tape sold for a whopping $120,000 at the end of last year at Art Basel in Miami, USA (the third piece sold for $150,000 and was only given to a museum collection).

So how did Cattelan come up with the idea of creating such a work of art? Galerie Belhaudon explains: Cartland originally wanted to make a sculpture in the shape of a banana, so he took a banana with him on every trip and hung it in his hotel room for inspiration. The artist later created prototype sculptures in resin and bronze, but finally decided to use a real banana as a work of art.

America, Maurizio Cattelan, 2016

Back in 2016, Cattelan gained notoriety for an 18-carat solid gold toilet that he exhibited at the Guggenheim Museum in New York.

The 18-carat gold flush toilet was literally installed in a real toilet for use at the time, and over 100,000 people lined up to experience the gold toilet over the year it was on display.

This work was not only a response to the excesses of the art market, it was also about the American dream. Cartland seems to be saying that we are all equal - as if everyone has the same bodily functions.

In contrast to his latest work from last year, Ugly, the two pieces are very different - one is a cheap banana, the other an expensive toilet - but both create a magical sense of monetary dislocation: things that come into contact with filth are made of gold, and everyday objects are sold at high prices.