Art Philosophy: Dogu Bankov’s Inventionism
Art Philosophy: Dogu Bankov’s Inventionism

Summary/Abstract: This article is a continuation of a previous article “Art philosophy: the Multi-layered Biography of Dogu Bankov“. The previous article analysed created biography as the first dimension of Dogu Bankov’s project. This article will analyse the second and the third dimensions: the second dimension – the dialectics of the original picture and its fake; the third dimension – collage pictures as indirect illustrations to classic literature. The combination of documentary and fiction, literature and visual arts creates the specificity of Dogu Bankov’s exhibitions. This mixture also blurs the lines between the original and its fake – be it the question about authenticity of the pictures or be it the question of authenticity of Dogu Bankov himself. “The Concrete Art Manifesto”, which no longer wants an artist’s signature, was displayed in the exhibition “300 pictures to Satyricon“. It suits the concept of Dogu Bankov. Another manifesto – “The Inventionist Manifesto”, urges to invent. The article analyses the role of these manifestos in art philosophy in the case of Dogu Bankov.

• Details
• Contents