In this versatile foam that prints Ricard Ustrell in ‘Col.lapse’ (TV-3), who on a Saturday interviews Maria del Monte, another to Carlos Herrera and another to the Mrs. Riushas traveled this week to Paris to chat with Miquel Barcelo. They sat in his pottery workshop. oh! It looked like a cemetery, full of objects made of mud, clay, stone… I noticed Barcelo which was his discarded parts store. There were hundreds. He said: “Sometimes I think my best works are here.” And added: «In the workshop of my paintings the same thing happens. I have them on ‘stand by’, until a drop arrives, or lightning, and they wake up ».
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This ad reminded me of an interview he did Hilary Pino in December 1999, to Antoni Tapies, on that channel called CNN +, the program ‘Face to face’, where tapies counted: «I store my paintings in corners, in any way, and I wait for time to pass. Sometimes it happens that suddenly, one day, I accidentally hit it, and a piece breaks. So the painting wins. Chance improves it. I mean, you throw a vase of cheap everything out the window, tie the pieces together with string, and you’ve got yourself a terrific work of art. But a basic ingredient is missing to achieve economic success: that it bears the signature of a star artist on some corner. I would have liked any questions Miquel Barcelo about what he thinks of the prevalence of the signature, which is what rules today in the market, over the work.
In the interesting documentary film of Kike Maillo about the tremendous counterfeiter Oswald Aulestia (2022) –it was broadcast by TV-3 in three episodes last February– there is a bright scene. walk Oswald down Carrer de Aragó in Barcelona, one day of light intermittent rain, and as he passes in front of the Tàpies Museum he tells maillo: «I’m going to make you a Tàpies in a moment». He rummages through a dumpster, finds a chipped, filthy, rectangular wooden slat, places it on the ground, and then Oswald He takes off one foot, dips it in the damp earth of a tree on the sidewalk, and stamps his dark footprint on the wood. And he exclaims: “Here it is. Now you just need someone to put the corresponding signature on you. Indeed. The world is full of excellent copyists. And the signature is the easiest to imitate. All that remains is for someone to authenticate the work. oh! Perhaps everything consists of whether there is business for everyone.