Boîte-en-valise 9

Duchamp’s “Boîte-en-valise” functions as a conceptual matrix, positioning the painting as a portable condensation of artwork, archive, and authorship. The photopainterly transposition and the blur question documentary authority and destabilize its status as visual evidence.

Within “The Paintings Section from Davis Museum Barcelona”, it operates as a museological extension embedded in contemporary figurative painting and institutional self-historicization.

700 $

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This painting is conceptually inspired by Marcel Duchamp’s “Boîte-en-valise,” conceived as a portable museum that condenses artwork, archive, and authorship into a single transportable device.

From a formal perspective, “Boîte-en-valise 9” enters into dialogue with the photopaintings of Gerhard Richter, characterized by the painterly transposition of photographic images and by the use of blur as a strategy for questioning the authority of the visual document.

The work forms part of “The Paintings Section from Davis Museum Barcelona,” an iconic series within this miniature contemporary art museum that constructs a narrative within art history focused on artists who have founded their own museums, articulated through Marcel Duchamp’s “Boîte-en-valise,” Robert Filliou’s “Galerie légitime,” and Marcel Broodthaers’s “Musée d’Art Moderne, Département des Aigles.” In this context, the painting functions as an archive, a document, and a museological extension of Davis Museum Barcelona, conceived as a readymade sculpture, a digital archive, and a cultural institution officially recognized by the Generalitat de Catalunya.