“Musée d’Art Moderne, Département des Aigles #3” (Paintings)

This painting originates in a reflection on the figure of the eagle as a conceptual sign within institutional critique, drawing on its emblematic use by Marcel Broodthaers in the “Musée d’Art Moderne, Département des Aigles.” In 1972, Broodthaers incorporated a borrowed painting titled “Adler” by Gerhard Richter into the exhibition “Section des Figures: Der Adler vom Oligozän bis heute,” inscribing the image within a fictive museological taxonomy. This work extends that gesture four decades later, proposing a new painting that could hypothetically re-enter that same symbolic section.

On a formal level, the painting enters into dialogue with the photographic paintings developed by Gerhard Richter during the 1960s, particularly through the translation of mediated images into oil via processes of projection, reproduction, and erasure. The image remains deliberately unstable, oscillating between recognition and abstraction, suspending the motif in a state of visual indeterminacy.

Executed in oil on linen, the work asserts painting as both medium and archive. The square format refers to the cubic geometry of the Davis Museum Barcelona: the museum understood as image, memory, and speculative structure.