The introductory traveling shot, slowly sliding beside a long, white-clothed table covered with the remains of a luxurious banquet, accompanied by a baroque playing harpsichord resembles the early films of Peter Greenaway, such as The Cook, the Thief, His Wife & Her Lover. It could just as well document the leftovers of the dinner following a vernissage in a prominent art institution. In any case, it signals that we are about to witness a self-referential account of art’s role in the contemporary world. Indeed. The film turns upside down one of the most taken-for-granted notions about human beings: the idea of a meaningful existence. This idea is embedded in the belief that human beings, and art as our means of expression, have . . .
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