50 records matched your query
03551aam a2200457Ii 4500 001 643552A2462211E9A3F20F6897128E48 003 SILO 005 20190314012734 008 180824t20182018gw a bc 000 0deng d 020 $a 3864422582 020 $a 9783864422584 035 $a (OCoLC)1050756043 040 $a ERASA $b eng $e rda $c ERASA $d OHX $d ZYU $d OCLCF $d JPG $d SILO 041 0 $a ger $a ger 050 4 $a N6811.5.P775 $b A4 2018 082 04 $a 700.411 245 00 $a Markus Proschek : $b true lies / $c editor, Karin Pernegger ; authors, Mark Gisbourne, Markus Proschek, Lucy McKenzie. 246 30 $a True lies 246 1 $i Title of exhibition: $a Markus Proschek : $b possession 264 1 $a KoÂln : $b Snoeck Verlagsgesellschaft mbH, $c [2018] 300 $a 141 pages : $b color illustrations ; $c 28 cm 500 $a Published on the occasion of the exhibition "Markus Proschek: Possession" held at Kunstraum Innsbruck, Austria, 21 April-8 July 2017. 500 $a Includes a conversation with the artist. 500 $a Title from colophon. 504 $a Includes bibliographical references. 520 8 $a Markus Proschek (*1981), born in Austria and now living in Berlin, seems to invariably perceive subliminal Nazi aesthetics and totalitarian architectures as artistic challenges. The bronze sculpture of the "Swimmer" (2006), painted in oil, is one such case. It refers in a certain way to the pictorial tradition of Psyche or Narcissus, but oscillates aesthetically as a Breker-esque beauty between Nazi bombast and Bauhaus coolness. Proschek's highly subtle works aim to trace this ambivalent balance between ideological appropriation and works of art that are open to interpretive manipu¡lation. His oil painting "The Fallen Merz" (2007), its ironic-fictitious scenery set at Haus der Kunst in Munich, features in the foreground a sculpture based on Caspar David Friedrich's ¡famous painting "The Sea of Ice", with elements of Kurt Schwitters's "Merzbau" piling up in the ¡adjoining room. The ¡canonic repertory is thus ¡parodistically confronted with the possibility of its disavowal when it is ¡presented with an element of insub¡ordination--such as with the Nazi aesthetics of the exhibition hall. Jacques Derrida ¡already emphasized that culture and art do not constitute a stable currency in the sense that meaning derives only from the relationship between things, which at the same time makes obsolete the idea that there actually is something like an original, true meaning. Markus Proschek comments: "I thought, the views on the subject were a little unsatisfactory. Most of the contemporary works of art that examin¡ed these subjects always seemed to me either very moralistic, superficial or, even worse, boring." 546 $a Interview in English; essay in English and German. 600 10 $a Proschek, Markus, $d 1981- $v Exhibitions. 650 0 $a Art and society $v Exhibitions. 650 7 $a Art and society. $2 fast $0 (OCoLC)fst00815432 650 7 $a Art, Modern. $2 fast $0 (OCoLC)fst00816615 648 7 $a 2000-2099 $2 fast 655 7 $a Exhibition catalogs. $2 fast $0 (OCoLC)fst01424028 700 12 $a Proschek, Markus, $d 1981- $t Works. $k Selections. 700 1 $a Pernegger, Karin, $e editor. 700 1 $a Gisbourne, Mark, $d 1948- $e writer of supplementary textual content. 700 1 $a McKenzie, Lucy, $d 1977- $e interviewer. 710 2 $a Kunstraum Innsbruck, $e host institution. 941 $a 1 952 $l OVUX522 $d 20191213014139.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=643552A2462211E9A3F20F6897128E48Initiate Another SILO Locator Search