In 2017, English artist Damien Hirst and German artist Till Roeskens each built a heritage project based on the past and memory. But while the former created a blockbuster to the glory of his producer, in this case art collector François Pinault, the latter reconstructed a world, that of shepherds’ paths, far removed from the logic of the market.
Sa propre vente aux enchères de toutes ses œuvres, en 2008, qui était une forme de test du marché.
Luc Boltanski et Arnaud Esquerre, Enrichissement, une critique de la marchandise, Paris, Gallimard, 2017.
Id., p. 107.
Charles Baudelaire, « Le peintre de la vie moderne », in L’art romantique, vol. III, Paris, Calmann-Lévy, 1885, p. 68-69.
Boltanski et Esquerre, op. cit., p. 169.
Ibid.
Id., p. 312.
Id., p. 244
Damien Hirst’s double exhibition, Treasures from the Wreck of the Unbelievable, held in Venice from April to December 2017, was in every respect a textbook case, rich in lessons about our contemporary economy and its relationship to art. In light of the sheer volume of the exhibition, the artist seems to have taken the time…
