Yet in the alternative gallery space of Galerie Eskort in Brno, this gesture becomes both comical and overtly critical of the preciousness that is often placed on art. As with any museum or art institution containing roped-off or glass-fronted artworks of specific historical renown and/or monetary value, a certain level of intimacy with the artwork is denied to the viewer. The portrait is installed like a Minimalist altar where viewers may come up for a closer – but not too close look, as here the boundaries between object and subject are blatant and at the same time blurred. It shows a mature woman dressed up in 1930’s garb, posing as a shy starlet for the camera. Artist Marek Ther’s exhibition recently at Galerie Eskort in Brno (the second largest city in the Czech Republic), explores the benefits that accompany an alias or alter-identity, and the complications and tragedies that can result from it.īehind a roped-off area of the gallery, hung like the Mona Lisa, is a photo headshot of Mabel (the title of the exhibition). Yet despite the many assets, there is always an air of deceit that goes hand-in-hand with the use of an alias-along with questionable guile over the denial or covering of one’s born identity. It is also a means of rejecting a certain kind of sick stardom and success associated with the art world. It can assist in avoiding or emphasizing a direct personal affiliation with the artwork, while generating intrigue and mystery about the artist in question. Using an alias still has its advantages and disadvantages in the arts. Marek Ther at Galerie Eskort in Brno (Galerie Eskort, Orli 5, Brno, Czech Republic, 10 January – 25 February 2003)
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