Review | Marius Thermogenesis...

Generated on 2023-10-26 14:43:14

Result #1

____________. What I love about these paintings is that they are very ironic.

Result #2

____ David Reed

Result #3

In one of the most striking works, for example, the aegis on a panoramic panoramic view is, not surprisingly, a deep red. But, on the back side, where a huge cutaway cover reveals the cover for a seminal work of popular culture, a sky blue and aqua chrome splash of pinks and oranges and an eye-level mosaic print of a creature-filled face overlay the background. In another, a giant schematic model of a human body rests on a polyhedron printed to look like metal. This model is surrounded by black shapes that look like holes, or a gigantic severed tongue. Even when the human figure is found in the background, the visible part remains invisible. A third painting, one with a phantom arm, a very large scale human head, and an enormous skull on a picture-covering panel, looks like a monster or a pop-up of the characters of the video games that are popular at the moment. The terrible, terrifyingly real horror of the Alien series, with its demonic mutants, with its final destruction by human hands, holds the viewer in fear.The majority of the paintings are large, but the exhibition offered no direct links to individual works, which were hung one above another to form a continuous stream of images and experience. These images, more than ever, bring to mind the artist himself as a kind of dark mirror. For him, the images in this exhibition recall those held by the macabre or superstitious. But he still retains a certain reverence for tradition and for his own chosen techniques. It is from these means that Marius reclaims the title of the exhibition. The modern world, he believes, has become so corrupt that only a fool, a madman, can be protected from the fear and death that lie just beneath the surface. His project is to bring the culture of death into a modern world, a world of fresh, enthusiastic life.

Result #4

Marius Thermogenesis is presenting a new series of paintings with an emphasis on heavy impasto. The works are heavily inspired by delirium tremens: the cultural aesthetics of the years 1998 through to 2002, the films of Yoshihiro Nishimura, the clothing of Jean Paul Gaultier and the noise rock band Boredoms. The exhibition has been best by problems relating to rampant alcoholism and material poverty. Conceptually, Marius describes the show as what he calls 'industrial glamour' or on occasion 'deep Telegram'. Extremely nihilistic in nature, the show investigates alternate states of consciousness, ego death and psychosis. The paintings themselves are excellent but executed in manic way. The colour palette evokes high fashion glamour chic with gore, viscera and an occasional monochrome sensibility. Practicality is also their strength. The materials used are plastic, wood, metal, collage, photographed, cut up, hung on wall and arranged on canvas. They are scaled for art-historical purposes, like the artworks by the most celebrated painters of the 19th century.The show is organized into three galleries. The first, the woodcut, leather and collage pieces, are based on cutting and holding images of everyday things, such as clothing, toys and jewelry. Here they are strongly suggestive of the human world, with its echoes of madness and contagion. The pieces from this series include: The Slide, 1996, a group of photographs taken in Tokyo that depict violence and violence on a global scale; Monster, 1998, a group of oversize paper cut-ups taken by Marius and displayed in an abandoned laboratory; and Some Days, 1999, a group of photographs that show Marius in his studio. Marius is fascinated by the uncanny: by ghosts, by past lives and by monsters. He believes in the psychic realm, but he also believes in artifice. The set and costume designs are sophisticated; they look like flashy high-end goods. The film stock is used in the costumes, which are made of polished brass or rubber. They are beautifully composed; the mirror and light boxes are nice and elaborate; the strings of pearls and baskets make up the costumes; and the collages are spectacular. The set, costumes and collages are meticulously detailed. The lighting is intricate: the camera angles and cinematography are impeccable.The second gallery is devoted to the films. The filmmaker Marius has made films, as he calls them, with the help of a camera hidden in the darkest corners of the dungeon. The films include: The House, 2002, in which Marius gives an interview to an eccentric, anthropomorphic creature, in which he uses the classic, but twisted, motif of the house as a metaphor for mental health.

Result #5

Marius Thermogenesis is presenting a new series of paintings with an emphasis on heavy impasto. The works are heavily inspired by delirium tremens: the cultural aesthetics of the years 1998 through to 2002, the films of Yoshihiro Nishimura, the clothing of Jean Paul Gaultier and the noise rock band Boredoms. The exhibition has been best by problems relating to rampant alcoholism and material poverty. Conceptually, Marius describes the show as what he calls 'industrial glamour' or on occasion 'deep Telegram'. Extremely nihilistic in nature, the show investigates alternate states of consciousness, ego death and psychosis. The paintings themselves are excellent but executed in manic way. The colour palette evokes high fashion glamour chic with gore, viscera and an occasional monochrome sensibility. Pigeon hill, 2002, an untitled painting from 2002, which shows an obese, bloated and demented piglet naked and lying in the midst of a mountainside, is an apt metaphor for the various stages of mental illness.Although in 2002 Marius was exhibiting his first one man show in his native Argentina, his recent exhibition at the Venice Biennale has been dominated by the same one-man show. In 2002, he completed the Lustkhrush in Munich, the long, sprawling installation of plaster castings for the floor of a Tagesbruch (Temple chamber) on the grounds of a former synagogue in Berlin. The work was called Lustkhrush, 2003, and was, in the six months before his previous show at the Whitney Biennial, a compendium of alternate selves (Hell, 2003). The Lustkhrush featured a monochrome painting of a rosy-cheeked, younger German-Jewish woman seated on a bed, her fingers taped to the outside of her lips and her right eye propped up against her forehead. This may have had something to do with the discovery of a self hidden beneath the textured surfaces of a handkerchief and an oversize saloon mirror. While the Slut, 2003, was also a compendium of alternate selves (Marius has spoken about this as a main influence), its tenuous connection to the previous work made it seem less self-contained.In the present show, Marius keeps his eye on the overstuffed pile of belongings at his feet, where the artist has buried his head in the rubble of a funeral. When he was doing the head count at a funeral service, he said he thought, You want to get the last word in? And he did, when he felt that his body had all the pieces in its grasp. Nowhere are the pieces more than enough to carry the burden of the show.