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Medium: Acrylics on canvas
Note: Showcases emotions shared by both cats and animals. Presented in a pop art sequence. All cat paintings borrow Yoshitomo Nara and Nicky Hoberman's perspective on the volatile nature of cats and children. Inspired by the Superflat art movement.
Futurism — 1909: They discover the automobile and immediately decide civilization has been waiting for them.
Cubism — 1910s: Reality is broken into pieces because looking at it whole has apparently become bourgeois.
Dada — 1916: Art is declared dead, then they spend years making a career out of the corpse.
Suprematism — 1915–20s: A square is put on a canvas and suddenly painting has discovered God.
Constructivism — 1920s: The artist stops being an artist and becomes a factory worker with better typography.
De Stijl — 1920s: Everything is reduced to rectangles because complexity has become politically suspicious.
Surrealism — 1920s: The unconscious is liberated and immediately turned into a style.
Mexican Muralism — 1920s–30s: The painting gets bigger, the message gets louder, and subtlety leaves through the back door.
Bauhaus — 1920s: Art, architecture and industry marry, and the child is a chair.
Abstract art — 1930s–40s: First they remove the subject, then they congratulate themselves for finding freedom.
Abstract Expressionism — 1940s–50s:The artist puts his trauma on a gigantic canvas and calls it universal.
Art Informel / Tachisme — 1940s–50s:The brushstroke becomes evidence of authenticity, as if paint could testify in court.
Gutai — 1950s: The artist attacks the material so violently that the attack itself becomes the artwork.
Kinetic / Op Art — 1950s–60s: Painting discovers movement without actually moving anywhere.
Fluxus — 1960s: The mother of elitism. Anything can be art, especially if it lasts less than a karaoke song.
Happenings — 1960s: Nothing is staged, except absolutely everything.
Conceptual Art — 1960s–70s: The object disappears and the explanation takes its place.
Minimalism — 1960s: A box is placed in a gallery and everyone is asked to contemplate their own gullibility.
Performance Art — 1960s–70s: The artist becomes the object because apparently the objects were getting too hard to make.
Institutional Critique — 1970s: The museum is denounced from inside the museum, preferably with funding from the museum.
Feminist Art — 1970s: It denounces the woman as an object while repeatedly making her naked body the object of attention. Again and again and again… meta.
Postmodernism — 1970s–80s: Everything has already been done, so irony becomes the new originality.
Neo-Expressionism — 1980s: Painting returns from the dead, bigger, uglier and considerably more expensive.
Appropriation — 1980s: Why make an image when somebody already made one worth stealing?
Relational Aesthetics — 1990s: The artwork becomes a dinner party where everyone is invited except the person paying for it.
Dogme 95 — 1995: Cinema throws away its tricks and discovers that rules are also a trick.
Young British Art — 1990s: Shock enters the gallery, meets the collector and discovers the price list.
Superflat — 2000s: Manga, consumerism and fine art are flattened into one enormous shopping surface.
Stuckism — 2000s: Painting comes back angry because conceptual art stopped returning its phone calls.
Contemporary art — 2000s: The artwork doesn't need to be good or exist; it needs to generate a statement, be a NGO, a catalogue essay and preferably a grant.
et voilà
Every movement begins by announcing that art is dead. Then it gives the corpse a manifesto, a gallery, a curator, a catalogue, a university course and eventually a six-figure auction price.