97 X97 cm. Oil on Canvas.
In 2013 there was an exhibition at the gallery “Berlinische Galerie” of photography that was headlined “Geschlossene Gesellschaft. Künstlerische Fotografie in der DDR 1949-1989 “. on the one hand this painting is inspired by the theme of photo-realism analysis in the German socialist party of those years. But in London there was also an exhibition this year entitled “Cosmonauts: Birth of the Space Age”. That is, this painting era theme of the Cold War and the space race in a way to see a global modernism from this context. The title I have given this painting reflects the way we view the new cosmological theories today.
But humor reflects the change that is taking the melancholy look of socialist history. In a country where the Communist discrimination, the reality is that many people come to Berlin especially to visit the “Mauerfall” and the museums of the DDR, commemorating the fall of the Berlin Wall. But curiously, it is because there is a fascination with the socialist, and analysis of the Cosmism and materialist philosophy, this despite the tendency to recapitulate the episode and give new meaning to the story. Personal interpretation that I do here, about a realistic picture, is appropriating the historical episode and put American star trek helmets depicting him as a moment of science fiction of a group of athletic women. It is that in today’s break with tradition, is the theory of chaos and entropy the new standard of research, which is really the denial of utopian reflection on transcendence.
About the exhibition: inspired by images from movies, cinema and in the broadest sense of visual and hypermedial culture in relation to created and selected associative objects. The method of re-mastering re-coping pictures as a transformation in ontological terms and also to work with the reflection of the continuum of the intervention of images in different contexts1
All works we want to realize are a collaboration between Mirjam Kroker and Juan Toronski Mosky, based in an iconographic narration and the archive of the artists as raw material for a pictorial synchronization and reconfiguration of the hypothetical character of picture and language.
I try to make art in a way beyond the limitation considered as a formal object which can be retained or taken away without asking what makes it important.
The ‘doing’ is to maintain the careful work and for us is their cultural and social context the most fragile aspect of art. I understand post-appropriation in a post-cinematic time as a pictorial method of re-confifuration and transformation and also to work with the reflection on intervention of images in other contexts. The appropriated pictures from the imaginary of the time period from the cold war, considered with humor as a tool against fascism and the possibility for a critical self-reflection on western cultural obsession.
With this kind of pictorial installation and re-mix we also want to raise questions on how social media has transformed the scope of actions of individuals in recent years, how it is connected to the real I. What is the real ”I” actually and can there be a separation from the fictional aspect of self performance as a factual aspect of actual identity? In a world strongly affected by the virtual world where the limits of private and public fiction and reality is almost non-existent. The illusion of a fix character or identity and the wish of permanent transfiguration for the vivid aspect of joyful condition as fake or fact and how this relates to the production of art and para-fiction.
1. We understand “appropriation” in this case as a practice of post-cinematic „criticism“. The configuration of this hypermediale time/space can be understood as a mediatic event. (Guy Debord).
Titel: Dangerous Minds,
Beschreibung: gemacht zu zwei in Kooperation mi Mirjam Kroker, Dangerous Minds ist eine Serie von Porträtzeichnungen von Persönlichkeiten wie Andy Warhol, Rose Ausländer, Kapitän Spock, Walter Benjamin, Charlie Parker, Joseph Beuys, David Bowie, Julio Iglesias, Marcel Duchamp, Nelson Mandela, Billy Elliot, Juri Gagarin, Susan Sontag, Angela Davis, Jack Hagelin, Billi Cosby, Hannah Arendt, Ai Weiwei, Michael Jackson, Theodor Adorno und Anderen, im Sinne einer “Hall of Fame”.
Dangerous Minds steht für jene, die sich mit der Zeit in der sie gelebt haben oder leben mit Humor, Kritik, Sensibilität oder Intensität befasst haben und deren Bemühungen und Gedanken eine Gefahr für faschistische, totalitäre oder Kapitalistische Systeme verstanden werden können.
Porträts von Persönlichkeiten aus dem Bereich der Bildenden Künste vermischt mit Figuren der Pop-Kultur, Literatur und Philosophie, in verschiedenen Arten, unterschiedlichen Formaten, Materialien und Techniken. Hiermiteinige von meine eigene erschaffung.
warhol drawing. Pencil on paper. 2013