Thomas Demand explores artistic ownership at Fondazione Prada

Installation view of inside the Fondazione Prada
A new exhibition curated by Thomas Demand at Fondazione Prada focusses on the theme of authorship, ownership and creativity from 1820 to the present. Pictured: Installation view.
(Image credit: Delfino Sisto Legnani Studio Courtesy of Fondazione Prada)

At what point does appropriation become theft? If an act of theft is artistic enough, is it acceptable? Can any art form exist without borrowing from elsewhere?

These are the questions raised by 90 works at a new exhibition curated by Thomas Demand at Fondazione Prada, Milan. The works – dating back to 1820, right up to the present – prove that these questions on authorship, ownership and creativity have a long history in art practice, and with the vast proliferation of free information and images on the net, they’re even more of a preoccupation for artists – and viewers – to address in the present. 

Carved into three overarching sections, L’Image Volee (The Stolen Image) deals with the physical and conceptual contemplations of the theme. First off, Demand has pulled together works that explicitly refer to the criminal act of stealing – or that commit a theft in order to make their art. This includes a work by American artist Richard Artschwager (known for his architectural motifs and Formica works). Artschwager commissioned his work – a Persian carpert entitled Stolen Rug, 1969 – to be stolen from the exhibition in which it was to appear in Chicago. Other pieces, such as Richter-Modell (interconti), 1987 – a coffee table made from a Richter painting by Martin Kippenberger – present works literally made from existing art works.

This leads neatly on to artists who re-make other artists’ artwork. Confused? That’s part of the effect of Appropriation Art such as Elaine Sturtevant’s Duchamp Man Ray Portrait, a piece from 1966, which creates a sense of vertigo that is not unlike the feeling of endlessly scrolling on the Internet.  

Appropriation is discussed too in the collages of John Stezaker and Wangechi Mutu.

At a certain point, the spectator becomes the spectated. Of the works to watch out for are Baldessari’s Blue Line (Holbein) installation, 1988, fitted with a hidden camera that takes pictures of visitors; and Sophie Calle’s L’Hotel – stealthy shots the artist took of unmade beds and belongings in unoccupied rooms while working as a maid at a hotel in Venice. This section brings the exhibition’s discussion full circle, drawing a parallel between voyeurism and surveillance and the process of observing and making art that is then observed and consumed.

Inside view of Fondazione Prada

Essentially, the exhibition poses three questions: At what point does appropriation become theft? If an act of theft is artistic enough, is it acceptable? And can any art form exist without borrowing from elsewhere? 

(Image credit: Delfino Sisto Legnani Studio. Courtesy of Fondazione Prada)

Pictured from left to right: Empty frame and John Baldessari’s ’L’image volee’ poster

Pictured from left to right: Empty frame of Vincent van Gogh’s Portrait of Dr. Gachet, 1890. John Baldessari's 'L’image volée' poster, 2015 – 2016. Stolen Pictures, 1948 Brochure. 

(Image credit: Delfino Sisto Legnani Studio Courtesy of Fondazione Prada)

1st frame of 2 people and 2nd frame of waterfall

Carved into three overarching sections, L’Image Volee (The Stolen Image) deals with the physical and conceptual contemplations of the theme. Pictured: Untitled #01 t/c, by Haris Epaminonda, 2010. 

(Image credit: Courtesy Constantin Thun Collection, Berlin)

Persian carpert – entitled Stolen Rug

American artist Richard Artschwager commissioned a Persian carpert – entitled Stolen Rug, 1969 (pictured) – to be stolen from the exhibition in which it was to appear in Chicago. Courtesy of Fondazione Prada

(Image credit: Delfino Sisto Legnani Studio Courtesy of Fondazione Prada)

Pictured: 2 by Henrik Olesen, 2016

This leads neatly on to artists who re-make other artists’ artwork, aka. Appropriation Art... Pictured: 2 by Henrik Olesen, 2016. 

(Image credit: Delfino Sisto Legnani Studio Courtesy Fondazione Prada)

Elaine Sturtevant’s Duchamp Man Ray Portrait

... Like Elaine Sturtevant’s Duchamp Man Ray Portrait (pictured), a piece from 1966, which creates a sense of vertigo that is not unlike the feeling of endlessly scrolling on the Internet. 

(Image credit: Courtesy Galerie Thaddaeus Ropac and Estate Sturtevant)

Pictured from left: Oliver Laric’s Penelope and Serial Classic

Appropriation is discussed too in the collages of John Stezaker and Wangechi Mutu. Pictured from left: Oliver Laric's Penelope and Serial Classic. 

(Image credit: Delfino Sisto Legnani Studio Courtesy Fondazione Prada)

Pictured: Poster for the exhibition ’L’image volee’ at Fondazione Prada

Of the works to watch out for are Baldessari’s Blue Line (Holbein) installation, 1988, fitted with a hidden camera that takes pictures of visitors. Pictured: Poster for the exhibition 'L’image volée' at Fondazione Prada. 

(Image credit: © John Baldessari, 2016)

Soviet and East German spy equipment

At a certain point, the spectator becomes the spectated, as illustrated by this selection of spyware (Soviet and East German spy equipment) from the Wende Museum in Los Angeles. 

(Image credit: Delfino Sisto Legnani Studio Courtesy Fondazione Prada)

INFORMATION

For more information, visit the Fondazione Prada website

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Charlotte Jansen is a journalist and the author of two books on photography, Girl on Girl (2017) and Photography Now (2021). She is commissioning editor at Elephant magazine and has written on contemporary art and culture for The Guardian, the Financial Times, ELLE, the British Journal of Photography, Frieze and Artsy. Jansen is also presenter of Dior Talks podcast series, The Female Gaze.