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Copyright information:Arturs Pavlovs

One of the biggest scandals in the art world lies at the heart of Lukasz Twarkowski's performance ROHTKO. In 2004, a couple bought a painting by Mark Rothko for $8.3 million. Years later, it turns out to be not by Rothko himself, but by a Chinese maths teacher from Queens who also forged works by Jackson Pollock. Can a fake painting evoke real feelings? What is real art and what is it worth?


Click here to read the interview with director Lukasz Twarkowski


In just under four hours of steaming beats and two huge video screens, the creators of ROHTKO go in search of answers, assisted by philosopher Byung-Chul Han's book Shanzai: Deconstruction in Chinese on the value of real and fake. 'Shanzhai' refers to a unique blend of imitation, innovation, and affordable, locally adapted versions of popular products in Chinese culture. 


The production is brought to life by Dailes Theatre (Latvia) in collaboration with Twarkowski's close creative team and actors from Latvia, Poland and China.  

  

'I believe that theatre is the kind of art that has the possibility of finding a way of communication completely beyond language.'

– Łukasz Twarkowski


Legendary New York art gallery Knoedler closed in 2011 after one of the art world's greatest scandals. Over the course of fifteen years, it had sold over 30 paintings assumed to be by the likes of Mark Rothko, Jackson Pollock and Robert Motherwell, which later turned out to be forgeries. 

  

Han’s book details the philosophy of 'shanzai' - loosely translated as fake - where an original product is not seen as fixed, but rather as seeking to transform over time. While the West often simply dismisses this concept as piracy, in the Chinese context, it entails a creative and constant reinterpretation of the original idea.   

  

ROHTKO is set in the grey area between fact and fiction, real and fake, and explores shanzai in a deeper way. The piece goes beyond philosophical reflection; through parallel storylines, dynamic set changes and intense music, Twarkowski creates a cinematic experience that fully engages the audience.  


The piece begins in the 1960s, shedding light on the final years of Rothko’s life, and ends up at modern forms of digital and crypto art. Live footage is shown on two large screens, filmed by camera operators moving among the actors, while videos serve as a trompe-l’œil.   

  

The set – a recreation of Mr. Chow’s restaurant, the home base of the 1980s New York art elite – serves as a catalyst. The Chinese restaurant plays another role as well: the owners, silent witnesses to the story, hail from a cultural tradition that, indeed, has different ideas about originals and copies.  

  

The intentional misspelling in the title, ROHTKO, is a self-aware nod to the booming trade in famous name-brand knockoffs, like 'Adibas' or 'Dolce Banana. ' This practice of 'shanzhai' spread throughout China and was applied to thousands of products.   

  

Is ROHTKO about the myth of authenticity? Does it aim to find the meaning of art? Or is it exploring the aesthetics of Rothko’s paintings? The answer to all these questions is yes. If its origins prove false, does this also invalidate the feelings the work inspires? If the value of the painting decreases, what does this say about the system that determines this value?   


ROHTKO first premiered in 2022 at Dailes Theatre, Riga, Latvia.


Twarkowski also appeared at the 2023 Holland Festival with Respublika.

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Glossary


NFT – non-fungible token

NFT – non-fungible token is designed to prove ownership of the immaterial things in virtual reality. When two things have the same function, they are fungible, like for example, money. Two different Euro coins are fungible. Nonfungibility means that you cannot exchange one thing with another, which makes that one thing unique. Through the unique NFTs the digital artists (celebrated in likes so far) can sign and sell their works (memes, gifs, tweets and any kind of digital works which can still be copied by anyone). They retain the copyright and reproduction rights. To put it in terms of physical art collecting: anyone can buy a Rothko’s print, but only one person can own the original.


Blockchain 

Blockchain is a system of recording information in a way that makes it difficult or impossible to change, hack, or cheat the system. A blockchain is essentially a digital ledger of transactions that is duplicated and distributed across the entirenetwork of computer systems. It is cryptographically secure and decentralized. Blockchain is transparent at the level of data flow, but at the same time allows users to remain anonymous. Blockchain has enabled a proven method of operating a digital currency (cryptocurrency) to appear – independent of central banks and financial institutions


Provenance 

Provenance is a record of ownership of a work of art that traces the history of its ownership, helping to verify its authenticity and value. In the NFTs field provenance appears as a blockchain – it provides tracking and tracing of digital items, their authenticity and source


Radical care

Radical care is an intentional process of producing relationships between humans and non-humans or artificial intelligence that increases compassion, encourages the sharing of social capital (and any other capital) and level of intersectional awareness. It seeks to empathically demonstrate experiences, needs, and desires in order to build a community based on mutual caring. It aims to raise awareness  of the interdependence of all of us, it means to care about those who are not us.


Daugavpils 

Daugavpils is a city in south-eastern Latvia, located on the banks of the Daugava River, from which the city gets its name. It is the second-largest city in the country after the capital Riga. Daugavpils is the birth city of the artist Mark Rothko and houses the Mark Rothko Art Centre. Born in Daugavpils in 1903 Mark Rothko immigrated at the age of 10 to the United States.


Shanzhai

Shanzhai literally means “fake”. It’s a Chinese neologism initially describing forgeries of branded products. But shanzhai adapt very fast to new conditions and exploit their potential to improve. These products are inspired by the original, then depart from it only to mutate into the new originals by themselves. Shanzhai undermined the power of the original, the authority and expertise. It deconstructs creation as an act of making things ex nihilo and inherits a playful, anarchic energy

  • ROHTKO

    Artūrs Pavlovs

  • ROHTKO

    Artūrs Pavlovs

  • ROHTKO

    Artūrs Pavlovs

  • ROHTKO

    Artūrs Pavlovs

  • ROHTKO

    Artūrs Pavlovs

  • ROHTKO

    Artūrs Pavlovs

Credits

direction Łukasz Twarkowski text Anka Herbut dramaturgy Anka Herbut stage design Fabien Lédé costume design Svenja Gassen choreography Paweł Sakowicz music Lubomir Grzelak video design Jakub Lech lighting design Eugenijus Sabaliauskas cast Juris Bartkevičs, Kaspars Dumburs, Ilze Ķuzule-Skrastiņa, Yan Huang, Andrzej Jakubczyk, Rēzija Kalniņa, Katarzyna Osipuk, Artūrs Skrastiņš, Mārtiņš Upenieks, Toms Veličko, Xiaochen Wang, Vita Vārpiņa production Dailes Theatre Latvia international distribution & production Vidas Bizunevicius (NewError) coproduction JK Opole Theatre co-organisation Adam Mickiewicz Institute co-financing Ministry of Culture and National Heritage of the Republic of Poland introduction by Marian Donner

This performance is made possible by