What we see today is an art which seeks a more immediate contact with people than the museum makes possible… and the museum in turn is striving to accommodate the immense pressures that are imposed upon it from within art and from outside art. So we are witnessing, as I see it, a triple transformation—in the making of art, in the institutions of art, in the audience of art.
Danto, After the End of Art: Contemporary Art and the Pale of History, 183.
After him–after him–why do you pause? Coppelius, Coppelius, has robbed me of my best automaton–a work of twenty years–body and soul set upon it–the clock-work–the speech–the walk, mine; the eyes stolen from you. The infernal rascal–after him; fetch Olympia–there you have the eyes!
Olympia is one of the characters of the E.T.A Hoffmann’s tale The Sandman, a grotesque story written on the romanticism era about fear, madness, blind love and droids, but if you read closer you will see that it’s a complex analysis of the paper of the women in the society of that time, but also ours.
Olimpia is that prototype of unreal women desired by men, a droid that didn’t choose her path, but what will happen if she had the chance to choose?
I made my version of this mysterious woman in 2010 for Illustration in Fine Arts, but also for the immersive intervention The SandMan in Second Life, that was exposed in the UWA challenge and in Arte Libera‘s virtual gallery. You can find more information about E.T.A Hoffmann’s tale and about this intervention in “Related articles”.