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Playing with fire



Apparently Blinky Rotred has again received news from Paris from his sister Anna.

This one, from time to time, contacts his brother elaborating with affection small and varied continents full of select contents.
This time the news came in a somewhat amorphous shoe box lined with French stickers.

Inside it Blinky could find a lot of press clippings, leaflets, brochures, tickets, photocopies, an encapsulated urban moth, scribbled napkins, an unlikely lighter and some peculiar treasure.

Almost everything Anna selected this time for her brother was about exhibitions and artists. Names like Burden, Manzoni, Courbet, Barney, Koons and others were the protagonists of the amorphous shoe box. But there was something that particularly caught Blinky’s eye: a small nineteenth-century caricature signed by Richard Doyle, in which William Turner was crudely drawn and ready to paint a canvas on an easel with a mop.

Perhaps this image represented for Blinky the ambiguous role that modern-contemporary art has been playing in society, who knows! The fact is that this image, and all the other reviews on the subject, opened up his appetite for new adventures. He, who never showed much interest in the plastic arts (he only confessed to spilling unusual admiration for some anonymous reproductions that decorated his corridor), awakened a new creative-aesthetic impulse willing to break physical and metaphysical boundaries, in favour of the expansion of thought and spirit.

He did not hesitate to arm himself with all the gadgets and knowledge necessary to achieve his purpose: to find that mysterious and divine “attitude” that would make him, hopefully, worthy and worthy of a sublime moment and/or a true “masterpiece”.