Presto 2003

Editor: This is "Presto" by Raoul De Keyser, painted in 2003 using acrylic on canvas. It’s deceptively simple; a pale background dotted with darker shapes, divided asymmetrically by a thin, vertical line. It gives me a feeling of something incomplete or fragmented, like scattered thoughts. How would you interpret this work? Curator: De Keyser's "Presto" reflects a particular moment in the history of abstract painting. Think about the early 2000s: abstract art had been declared “dead” multiple times, yet artists were still grappling with its legacy. De Keyser engages with this directly, seemingly deconstructing the very act of painting. Note how the “scattered thoughts” you observed mimic an unfinished study – like notes towards a painting. It’s important to note the institutional and art market forces in play. Editor: So, you're saying the perceived incompleteness is intentional, a commentary perhaps? How does this tie to a social understanding of art? Curator: Exactly. It challenges the expectations of a finished, polished artwork that museums often privilege. Instead, it hints at process, at the artist's hand and decisions, thereby acknowledging the cultural value placed on ‘originality’ in the contemporary art market, particularly during De Keyser’s lifetime. Are the shapes accidental? Editor: Maybe not entirely. There's a considered distribution. Like they're intentionally casual. Curator: Precisely! This tension is crucial. De Keyser plays with spontaneity and control, prompting viewers to question what they perceive as ‘authentic’ within the art world, as dictated by museums and galleries. This piece is an amazing window into institutional and marketing pressures. Editor: I see it differently now! Initially, it just seemed… sparse. But knowing the history and what the artist might have been responding to… it definitely adds a richer layer. Curator: Precisely. It prompts deeper consideration of the forces at play in producing what we regard as 'art.'