Marc Quinn

Fondazione Prada | Milan

FOR ONCE, the Prada Foundation did not have to transform its space: The extravagance typical of the foundation's exhibitions, was, in this case, achieved by the works on display alone, thanks to the technical wizardry evidently required to create them. Indeed, in the works made for this occasion, Marc Quinn's propensity for a certain magniloquence seemed to confirm the desire for effect so apparent in earlier work that it became a factor in his reputation as one of England's most “sensational” artists.

Continuous Present, 2000, is a large stainless-steel cylinder with a reflective surface and a ring surrounding its base. Along this ring, a human skull moves very slowly, in circular fashion, presenting the viewer with the image of a memento mori, its reflections bringing to mind the anamorphosis of Holbein's Ambassadors, 1533. But here, the sad confirmation of our mortality is not achieved

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