Musée des Aigles Modernes 14
A dramatically charged interior, this painting reinterprets Marcel Broodthaers’ Musée d’Art Moderne, Département des Aigles, Section XIXe siècle as a space where meaning does not reside in the objects themselves, but in the framework that defines and presents them. Through a subtle balance between structure and dissolution, Davis Lisboa constructs an atmosphere of suspended tension in which architecture, light, and painterly matter converge to form an enigmatic space. The work situates itself within the tradition of institutional critique, while maintaining a restrained visual intensity with neo-expressionist overtones.
Original · Signed · Certificate
€1,750
Product Details
Davis Lisboa, Musée des Aigles Modernes 14, 2017. Oil on linen, 80 × 80 × 3.5 cm (31.5 × 31.5 × 1.38 in).
The painting reinterprets a black-and-white photograph of the fictional Musée d’Art Moderne, Département des Aigles, Section XIXe siècle, conceived by Marcel Broodthaers in 1968. The depicted space does not present an exhibition in the conventional sense, but rather an architecture of signs in which an aesthetics of the supplement is at work: there is no artwork as such, but a displaced attention toward everything that surrounds and defines the experience of art.
The composition articulates the interior as a dense scene, structured by planes of earthy color and a dramatic light that heightens its introspective quality. The ladder, an unstable and diagonal element, introduces a structural tension that fragments the image and activates the space as a field in transition.
The painting draws on languages associated with Neo-Expressionism, particularly in its approach to memory through empty architectural settings. The pictorial matter, thick and modulated, establishes an unstable balance between structure and dissolution, where forms seem to emerge from and recede into the surface.
The work belongs to a lineage of practices that have redefined the museum as a critical device, in dialogue with artists who conceived their own institutional frameworks, such as Marcel Duchamp with Boîte-en-valise (1935–1941), Robert Filliou with Galerie légitime (1962–1968), and Broodthaers himself with Musée d’Art Moderne, Département des Aigles (1968–1972). Within this context, it forms part of the development of the Davis Museum, where painting operates simultaneously as document, interpretation, and extension of an institution conceived as an artwork in its own right.
Additional information
| Weight | 5.2 kg |
|---|---|
| Dimensions | 80 × 80 × 3.5 cm |
