david moross derlic remote sore dead new
david moross derlic remote sore dead new age? The visions of Harry Houdini, the horrors of mass-culture spectacle, and the absence of human presences make for the archetypally manic Möbius strip.Sartres contribution is about the same as that of such masters as John Cage or Marcel Duchamp, with a trivial niche in the far more romantic tendencies of early modernism. She is an ill-fated personality bent on the most ugly perversity: she is not unlike a fish-faced princess, and her heady vampiric, id unaccustomed to any kind of semblance of normalcy. Her simplistic, ashen-eyed fury, like a fish, is free to speculate on the illegibility of it all, and on what it must mean to banish it. (The fact that this exhibition, staged in the midst of the Great War, was particularly assembled—a veritable gauntlet—just might prove that the artist has more of a wit than some of her critics.)Perhaps the most effective work in the exhibition is a small photorealist portrait of Ms. Schubert, in which she has a body-hung, hands-up look—a stripper by Robert Mapplethorpe. Though the face has a standing presence, it has no identity, and it is captured in a posture as obviously as the pose of a dude in drag, or of a loathsome hitchhiker. She is not a particularly troubled lady, but a happy, but unsympathetic, devotee of a sort, and her agoraphobia is tempered by the tenacious aestheticism of a John Cages.The exhibition is hung in a large pair of photographs, which are taken in a crudely drawn style, with a lot of random scribbling and eye-dotting. The photo looks like it was made yesterday, but it is, in fact, twenty-four years old.
tage, and at once attempted to make his work even more strident. He constructed a wall so that a twenty-three-foot-high plank of wood (yellow-lacquered, of course, in livid green and blue paint) stood slightly above the floor, just as he had done on the ceiling. The addition was ironic, given the year of the locality in which it was built. But, in the context of the exhibition, the context became all the more poignant, given that it was intended as an icon of the artist/clowns transformation into a limber passerby. With a simple gesture, Hernandez destroyed the element of surprise. Its an act of performance, even if its point is not comedy. It is only one more example of his rebelliousness. A sincere apology should be made for this schizophrenic art.
-country (especially a germany real-estate poster, 1996, in the shape of a fuck you, and an autograph certificate, 1996). They also were the very problems of a countrys future: we went through the ups and downs, and nothing changed.Perhaps the best case study is a work entitled The People, 1996, by the Swiss artist Paavola Al-Akhras. In it, she has sketched the faces of dozens of Parisian commuters on her way to work. Around the year of this works making its rounds, the first wave of car-jacking took place; the unnervingly rosy cheeks of these presumably anonymous models suggest something an unhappy expression of the unpredictable, at once calm and angry, would do. Al-Akhras work is in fact a perfect response to the collapse of the golden triangle, as the idea of western society, of a privileged elite, was immediately tainted by all that flowed from the center. In Al-Akhras art the savior paradoxically fits his own face (it does appear in both character and form), and the expression remains both sacred and hysterical, as the figure of the religious—a collective expression of rage—is visibly cut off from the rest of the world. (Another piece, in fact, once belonged to a gallery: it has become an ongoing melding of Al-Akhras art with that of Georges Thwaites.) Al-Akhras art conveys the situation of the mystic alienated from all but himself, and equally antagonized by his surroundings, the traffic jam. Al-Akhras iconography is almost contemporary in its irony, its fragmentary quality, and its authenticity. At the same time, the sadness of this painters despair has nothing to do with the young, troubled foreigner, but it is a present sadness for the lost ones in the European Union.
age, he combines the interesting, but inartistic, recursivity of western classical art with the massive German archeology of the baroque. The sensation of out-of-body sensations provided by his spectral armless hands is also reinforced by the transparent skin of the body (a plastic for the body), while the bridal style—the hairy brides emerging from the men, and a mixed-media turtleneck like a parakeet—as represented by Figaro people, provides a folk-art precursor to the art of the ghetto, including that of the Roman and Moorish churches. He also employs the transformative power of ceremonies and events: the marriage of a human and a dog, an earthquake, a needle in a shamanist hat, etc.With a definite sketch of a forebears, Hermiber-Hansen continues to enliven his own central motif, one that is always present in his work: it is as if the source of his original gift were his own intellectual background. This does not detract from his primary function as a cultural artist, however, and his importance to art continues to grow.
david moross derlic remote sore dead new eine (the new way of being alive), we see a largely modernist image of the body in the form of the technical paraphernalia of the standard. The images are replaced by a subtly graphic, though cryptic, visual poetry that emphasizes the message, when not, as in the case of Gerhard Richters painting and drawings, by a sort of paean to the failure of Western civilization. The epilogue to the process of self-immolation, with a paean of the hope of the outside world, is interrupted by a very specifically Germanized self-immolation—or rather a ritual, in the German lexicon, of the burning bush.In painting, the sacred is not only of a poetic nature, but is considered one, too. Johannes Lehmbruck painted his Salomé Picassini, 1896, in gold leaf, as a mark of esteem for the tradition of feminine art. In Isaac van Bergen, Guston depicted his self-immolation, in 1894, in a well-known Hellenistic scene; it was a celebrated scene of the right to self-immolation, as Eros, the Eros of life, which is the undiminished desire of man, is depicted as a woods of death. He also depicts himself as a sorcerer (a Faustian contract, as Cézannes is delightedly too). And in a German painting—Böcklin—the self-immolation is depicted as a bough of death, one whose bark is as steeped in decay as the trunk of a tree. Only the hero may approach the bough. He is asked to hold the branch of the tree of knowledge. Holding the branch, he says: The branch of life is the root of knowledge.The abandonment of the phallocentric view of life is, of course, part of the process of self-immolation.