Westermeier’s Barbarians & Classics installation references the structure of ‘The Family of Man’ exhibition curated by Edward Steichen for the MoMA in 1955 and re-uses it as a setting for a series of new photographic collages made by Westermeier.
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Westermeier’s Barbarians & Classics installation references the structure of ‘The Family of Man’ exhibition curated by Edward Steichen for the MoMA in 1955 and re-uses it as a setting for a series of new photographic collages made by Westermeier.
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Mellors has drawn inspiration from films such as Pier Paolo Pasolini's Salò and numerous science fiction classics, although his primary concern is the contemporary context where linguistic manipulation - by politicians, spin doctors, the media - is ineluctable.
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I like early Pop Art- the hand painted Pop of Lichtenstein before it became mechanical." Raedecker is happy taking an international approach to rework some classic themes of Dutch painting, views from in and around the home, but changing their purity, adding the aura of t.v. culture so the images become associated with an American nostalgia for it's past.
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The text, written by Melvin Moti, consists of an amalgamation of biographical notes and diverse information: both a reconstruction and a product of Moti’s imagination at once, it implies a virtual game based on a relation of similarity to the patterns of reality (in knowing the classic form of the interview), a tension between authenticity and imagination.
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In the Second Manifesto on Surrealism, Breton explains very clearly the surpassing of the classic conception of imagination in the way surrealism suggests: “Everything seems to make us believe that there exists a certain mental vantage-point at which life and death, the real and the imaginary, past and future, the communicable and the incommunicable, and high and low, cease to be perceived as contradictions.
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We see the stereotypical development of the artist influenced by the history of art, from classic to contemporary, and by the places where she has lived in her nomadic existence, from communist Russia, the former Yugoslavia at the beginning of the civil war there, Israel during the Second Intifada and Germany after its reunification, to her present but certainly not final destination: the Kingdom of The Netherlands.
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We see the stereotypical development of the artist influenced by the history of art, from classic to contemporary, and by the places where she has lived in her nomadic existence, from communist Russia, the former Yugoslavia at the beginning of the civil war there, Israel during the Second Intifada and Germany after its reunification, to her present but certainly not final destination: the Kingdom of The Netherlands.
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