In September 2014, Canadian radio CBC presented a young artist who claimed to be the inventor of a revolutionary art, the invisible art. She was describing a work she had worked on for hours, but that could not be seen. It was a hoax.
What the authors of this farce could not imagine was that many invisible art initiatives had already been experimented by artists like Duchamp, Magritte or Warhol.
In June 2011, the artist duo Praxis sponsored by comedian James Franco launched the "Non-Visible Museum" or MONA, "an eccentricity of imagination, a museum that reminds us that we live in two worlds: the physical world of sight and the non-visible world of thought.Completely made up of ideas and sniffing at the art market, the works will simply be described to visitors ... "
More generally, the promoters of the invisible art postulate that art is not limited to physical achievements to see or to possess.
Works inaccessible, hidden, invisible or to disappear to keep only the memory, would be equally able to provide artistic emotions.
To evoke a work disappeared or invisible to the naked eye, would make it revive a posteriori.
These very conceptual artistic orientations are based on the rejection of the mercantile and speculative turn of contemporary art.
On the other side of the coin, promoting the artistic emotion of a work that is not seen or touched, and focusing on narrative or story telling, could disqualify this approach.
The incredulous spectator, prevented from making his own judgment by exercising all his senses, would be reduced to believing "the artist" on his word ...
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