“Marcel Broodthaers 24” (Maracatú)

This painting explores cultural hybridity through three fundamental references. The first is an iconic black-and-white photograph of the Belgian artist Marcel Broodthaers, who, wearing a fake nose, stands in front of a truck from “La Continentale Menkès,” an art transportation company in Brussels, taken during the filming of his movie “Voyage à Waterloo” (1969). The second reference is “Galerie Légitime” (1962), an iconic work by Robert Filliou, which consisted of a portable art gallery contained in a folded paper hat. The third reference is the vibrant colors of the ceremonial costumes from the “Maracatú,” an Afro-Brazilian festivity celebrated in Pernambuco, Brazil.

This work also connects with a broader narrative in art history about artists who have created their own museums, challenging established canons. Notable examples include Duchamp’s “Boîte-en-valise,” Filliou’s “Galerie Légitime,” and Broodthaers’ “Musée d’Art Moderne, Département des Aigles.” In continuity with this tradition, I founded the “Davis Museum Barcelona” in 2009. This institution is not just an art collection but a readymade artwork in itself, functioning as a digital archive, a collection of small-format contemporary art, and an official cultural entity recognized by the Generalitat de Catalunya.