Author : Carter Lee
Welcome to Snuff Artist: A Retrospective on the Artwork of Kolin 34 Kan
‘Mr. Bargeld? Welcome to the Central Museum! I’m Ronild; Director March has asked me to show you through the exhibition hall before your meeting with Artist Kan. If you’d follow me?
‘As you can see we’ve set up a small display here, so that prior to entering the actual display hall, anyone who isn’t familiar with the history of ‘Thanatotic Art’ can get a basic understanding. I know Artist Kan prefers the title ‘Snuff Artist’, which is, of course, his prerogative as a master, but the Director felt that the more academic title would help newcomers to understand how this branch of art developed prior to Artist Kan’s ascendancy as it’s greatest artisan. So many people think Artist Kan was the first to use his own bodies death as an artistic medium, when the truth is, even prior to the possibility of recreating the artist through cloning and memory implantation, some were using the end of their ‘mortal coil’ as an artistic statement. Some have even argued that the death of E.A. Poe, V. Woolf, and R. Akutagawa should be read as part of their creative life.
‘Inside the hallway, the first display the patrons will come upon is Artist Kan’s seminal work, ‘Blown Mind: Shotgun’. While this composition, formed, as you can see, of chair, shotgun, corpse, and wall covered with the artist’s blood and brains, is the first that brought Artist Kan to wide attention, not many know this is actually the third in the ‘Blown Mind’ series, each using a different weapon to create varied aesthetic dispersion of Artist Kan’s brain. It is unfortunate that we weren’t able to arrange for the entire series to be displayed together, but we are indebted to Counsel Atmarch for the loan of ‘Blown Mind: Shotgun’ which has formed the centerpiece of the Counsel’s personal art collection for many years.
‘The rest of the hall represents the best efforts of the Museum’s display design artisans, who worked with replicas and copies of Artist Kan’s oeuvre to create an almost overwhelming effect, organized not chronologically but by aesthetic effect, to allow the returning patron to be unable to wholly take in the totality of the Artist’s work in any single visit. The two ‘Smear’ canvasses form the background on either side, the almost thirty foot length of each covered in the viscera and lifeblood of the Artist left by his being pressed and rubbed against them by vehicle or machine, while ‘Crucifixion’ and ‘Impalement’ anchor the near and far walls. You can see, the highlights of Artist Kan’s works are represented, ‘Draw and Quarter’, ‘Cruel Lye’, and ‘I’m of Two Minds’, which still has the original ax still embedded in the skull…’
‘Hmm? Yes, the empty display at the end is where ‘A Year and a Day in the Life of Death’ will be. At 5pm precisely, Artist Kan will leap from 200 feet above the canvas covered floor. His body will lay within the enclosure, untouched, for 366 days, allowed to decay, before Kolin 35 Kan is awoken, so that the Artist himself can oversee the sealing and preservation of the piece.
‘Well, it appears we should head to the Artist’s preparation chamber, if you’re to arrive on time. It would be a pity if he leapt before you could interview him, wouldn’t it!’
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