INFO LE FIGARO – While the Anglo-Indian artist came today from London to Versailles to see the damage caused by vandals in his work Dirty Corner , he informed the Le Figaro his “Statement”, an open letter and a reflection on art, his polemics and symbolic.
Anish Kapoor was today in Versailles, such as Le Figaro announced yesterday exclusively on their website. The Anglo-Indian artist whose work polemic Dirty Corner was vandalized, probably very early Wednesday morning, came to see for himself the damage.
According to the first photos taken on the spot, the damage seems important and induce a significant amount of yellow paint that has yet spotted a gigantic sculpture. How is she entered the royal domain? In what form? By what hands and by how many people? The investigation that will result from the complaint filed by Catherine Pégard, President of the Public Establishment of the Palace, Museum and National Estate of Versailles, shall establish these facts.
The artist, who had told us on Wednesday evening, in a spontaneous interview, although measured in shock from the news, decided to write more quiet that inspired this French made him become a news story that questions the art world and toured the capitals of the New York Times The Guardian . Here, in preview, the “Statement” a British artist political enthusiast, a sacrosanct phrase dear to contemporary art and its codes. A profession of faith, in short. Here it is, verbatim:
“The works of art are often catalysts for larger malaise in society. My Dirty Corner Versailles suffered this fate. It has been belittled in the press in “Vagina Queen” or “vagina on the Grass” and, it seems, offended a fringe of the French extreme right.
In art, what you see is not what think you see (“ What you see is not What you get ” literally in English, Ed). The exact likeness of the object of art is deceiving us; This is not a pipe René Magritte reminds us that good art work quantity of interpretations and not one.
“Do Me, artist, I can turn a vile act of political vandalism creative act, aesthetic and public? Would this not the best revenge? “
The malicious voices of some too dominated the debate and even attracted in their camp people of good will. This resulted in vandalism. I inherited a staff debate: how should I react? Should we remove the paint that was thrown on the whole work? Or should it remain and become part of the work? Is this political violence is expressed through vandalism makes my dirty Dirty Corner ( Coin dirty , in English)? Is this dirty political act reflects the dirty politics of exclusion, marginalization, elitism, racism, Islamophobia, etc …
The question I ask myself is this : Is me, artist, I can turn a vile act of political vandalism creative act, aesthetic and public? Would this not the best revenge
In asking this question, I am aware of the power of art and all the capabilities it offers. Dirty Corner is in some ways an act of artistic violence. It attempts to lay bare the orderly surface of Versailles by Le Nôtre. It initiates a dialogue that challenges the rigid geometry of Versailles. He looks under the carpet of Le Nôtre, under his Tapis Vert, and allows us to see what is uncomfortable, sexual.
Political violence is not the same as the artistic violence. This political vandalism uses an “artistic material” (painting) to make a very real violence. It could have been a bomb or a pier hooded quelqu’on of kidnaps.
The artistic violence aims to generate something, political violence destroyed. artistic violence can strike with his cries tradition of previous generations. This can violently back what existed previously, but in doing so, follows a long tradition regeneration. Still, she advances the language of art.
Political violence seeks to erase. His argument is to erase an offensive idea, an offensive person, a practice offensive or insulting thing. Simplistic political visions are offended by the disorder of the art. In this context, art is seen as obscene and must be destroyed. ”
Anish Kapoor, June 19, 2015