2017 Summer – Zhang DALI

 

 

 

 

 

 

 

Door zijn diepe verbondenheid met de arbeidsmigranten, duidelijk merkbaar in zijn werk, symboliseert Zhang Dali begrippen als etniciteit en mensheid, eeuwigheid en tijdelijkheid, werkelijkheid en historische gebeurtenissen. Het onderwerp heeft hier het gedaante van ‘medium’ aangenomen waarmee de kunstenaar de voortdurend veranderende informatie overbrengt naar het publiek: een geïndividualiseerd visuele vocabulaire. Over de toestand in China tijdens zijn constante evolutie waarbij de migranten de fysieke arbeid leveren in de steden, waar ze als gebruiksgoed worden aanzien. Hun menselijkheid wordt hen ontnomen ten behoeve van materialistische evolutie die het land ondergaat.

The deep connection between the artist and the migrant laborers explains the endurance of this object matter in his art.  Zhang Dali symbolises ethnicity and humanity, the ephemeral and permanent, reality and historical memory. His subjects became the ‘medium’ which is used by the artist to transfer the constantly changing information to the public: an individualized visual vocabulary. On the situation in China during its constant evolution, the migrants provide the physical strength in the cities and were turning into material. Their humanity has been taken away from them for the materialistic evolution of the country.

2017 Spring – John DOE

Manifesto Biennale Venice, 2017 – Palazzo Mora

John DOE 2016- 2017 – FuckYourselfArt ‘sculpture and paintings’, Lotnumbers 794 – 313 – 716

THE MANIFESTO
‘ FuckYourselfArt ’

“Here’s to the ones who see art differently.
You can quote, reject, or glorify my statement.
Here’s to the blind:
Commercial trouble-makers cannot change the evolution of art history.”

The manifesto named ‘FuckYourselfArt’ illustrates the new statement of the 21st century.
Read the Manifesto in your language:
www.artofthe21stcentury.com

2017 Winter – PAUL Mc CARTHY

Paul Mc Carthy, Heidi Drinks, 2000
mixed media, painting, acrylic, perforated print – original work

McCarthy reproduces formal, obscene and macabre situations with a sense of drama. American child heroes such as Pinocchio and Heidi become psychopathic characters from horror movies with hallucinatory, sexual urges. Pop stars are the culprits of the tragedy behind rape, paedophilia and murder. Society is regarded as a social being and portrayed as one human body. Blood, sperm, sweat and faeces in an ominous setting denounce the allegedly infallible American myth.

Op theatrale wijze toont McCarthy plechtige, obscene en macabere situaties. Amerikaanse kinderhelden als Pinocchio en Heidi worden psychopathische personages van horrorfilms met hallucinatoire, seksueel getinte uitspattingen. Popsterren zijn de daders van de tragiek achter verkrachting, pedofilie en moord. De maatschappij, gezien als een sociaal wezen, wordt voorgesteld in één menselijk lichaam. Bloed, sperma, zweet, uitwerpselen in onheilspellende decors stellen de Amerikaanse, zogezegd feilloze, mythe aan de kaak.

De façon théâtrale, McCarthy met en scène des situations solennelles, obscènes et macabres. Des héros enfantins comme Pinocchio et Heidi se transforment en psychopathes de films d’horreur, chargés de débordements hallucinatoires à caractère sexuel. Les pop stars sont les auteurs d’actes tragiques comme le viol, l’agression pédophile ou le meurtre. La société, considérée comme un être social, est représentée sous la forme d’un seul corps humain. Sang, sperme, sueur, déjections et décors sinistres mettent à mal le mythe américain, pourtant réputé infaillible.

2016 Fall – GILBERT & GEORGE

Gilbert & George, 1991 – BUM CROSS
253 x 213 cm – original work

Gilbert & George said: “In some way we do know that art is everything and also that it is nothing. So it is complete. We are just trying to express ourselves in the most visually simple way and the viewer has to be able to be woken up in front of it. It is like a discussion. I think that if you take a group of people into one of our shows, each person will interpret it in a different way, if they are allowed to be totally free.”

2016 Summer – John DOE

JOHN DOE

John DOE 2016 – Lotnumber 404 – golden Fuckyourselfart on canvas – 180 x 150 cm

Het manifest

« Fuck Yourself Art «
Een miljoenenleger kunstbeoefenaars is schuldig aan een ongelimiteerd artisanaal vermaak en kunstcritici gaan monddood. Gedurende de laatste decennia waarderen we vele zaken uitsluitend op basis van hun financiële waarde. Hoge cijfers beïnvloeden ons, we mogen echter niet toestaan dat een epidemische verspreiding de artistieke evolutie van onze cultuur inperkt. Veilinghuizen rijzen als paddenstoelen uit de grond en de continuïteit van de ware tijdloze kunst stagneert. Er is nood aan meer inzicht aan het nieuwe begin van de 21ste eeuw.

Internet bespeelt de wereldomvattende mogelijkheid om ons een cultuur van onbegrensde dwaasheid op te dringen. Er zijn de miljoenen internetters met enkel aandacht voor hoge cijfers, wat leidt tot een barbaarse cultuur. De criticus vervalt in een onnatuurlijke stilte.

Op een avant-gardistische wijze biedt de ‘Fuck Yourself Art’ kritiek op onze hervormde tijdsgeest. Is de hedendaagse kunst dan enkel een paring tussen een slimme afzetmarkt en een gehersenspoelde massa? Is er dan niet dringend nood aan een beschermende maatregel om het einde van de kunstgeschiedenis te vermijden?

De kunstenaar, de handelaar, de kunstcriticus, de veilingmeester en de kunstliefhebber … allen zijn bedreigd onder druk van een blinde rit!

De ‘Fuck Yourself Art’ anticipeert op het statement van de verzamelaar van de 21ste eeuw en weerspiegelt de nieuwe werkelijkheid.

Founder JOHN DOE
www.auctionsart.net

Le Manifeste

« Fuck Yourself Art «

Une innombrable armée d’artistes est responsable d’un divertissement artisanal illimité, et les critiques d’art sont réduits au silence. Au cours des dernières décennies, nous apprécions bien des choses sur la seule base de leur valeur financière. Influencés par l’importance des chiffres, nous devons réapprendre à regarder l’art, de manière à éviter toute propagation épidémique susceptible de limiter l’évolution artistique de notre culture. Les maisons de ventes aux enchères poussent comme des champignons et la continuité de l’art intemporel stagne. En ce nouveau début du XXIe siècle, on nécessite un regain de conscience.

Internet joue sur la possibilité planétaire de nous imposer une culture de l’ineptie illimitée. Vus par des millions d’internautes, les chiffres élevés rendent l’oeuvre intéressante et aboutit à une culture barbare. Le critique tombe dans un silence contre nature.
D’une manière avant-gardiste, le « Fuck Yourself Art » critique notre esprit du temps réformé. L’art contemporain n’est-il de ce fait qu’un appariement entre un marché futé et une masse lobotomisée ? N’est-il pas urgent de prendre des mesures de protection pour éviter la fin de l’histoire de l’art ?

L’artiste, le marchand, le critique d’art, le commissaire-priseur et l’amateur d’art – …tous sont menacés de cécité !
Le « Fuck Yourself Art » anticipe la déclaration du collectionneur du XXIe siècle et reflète la nouvelle réalité.

Founder JOHN DOE
www.auctionsart.net

The Manifesto

« Fuck Yourself Art «
A million-man-army of art practitioners is guilty of an unlimited artisanal enjoyment and art critics are silenced. Over the past decades, we appreciate many things exclusively on the basis of their financial value. High figures influence us and we may not give any chance to an epidemic dissemination that restricts the artistic evolution of our culture.
Auction houses are mushrooming and the continuity of genuine timeless art is stagnating. There is a need for more insight at the new beginning of the twenty-first century.
The internet plays on the global possibility of imposing on us a culture of bottomless foolishness. Millions of Internet users see high numbers and the attention for high figures alone leads to a barbaric culture. The critic falls into an unnatural silence.

In an avant-garde way, ‘Fuck Yourself Art’ offers a critique of our reformed zeitgeist. Is contemporary art only a coupling between a smart market and the brainwashed masses? Is the love of art still progressing, or does this nihilism indicate the end of our art history?

The artist, the dealer, the art critic, the auctioneer and the art lover … they are all at risk, under pressure from a blind ride!

‘Fuck Yourself Art’ anticipates on the statement of the buyer of the twenty-first century and reflects the new reality.

Founder JOHN DOE
www.auctionsart.net

Das Manifest

« Fuck Yourself Art «

Millionen von Kunstschaffenden tragen die Schuld an einem unbegrenzten Vergnügen am Handwerk, der Kunstkritiker wird mundtot gemacht. In den letzten Jahrzehnten wir schätzen viele Dinge nur noch wegen ihres finanziellen Werts. Große Zahlen üben einen starken Einfluss auf uns aus. Wir müssen wieder lernen und üben, Kunst zu betrachten, damit die Epidemie, die die künstlerische Entwicklung unserer Kultur einschränkt, keine Gelegenheit erhält, sich auszubreiten. Auktionshäuser schießen wie Pilze aus dem Boden und die Kontinuität der wahren zeitlosen Kunst stagniert. Eine tiefere Einsicht zu Anfang des 21. Jahrhunderts ist dringend von Nöten.
Das Internet macht sich die globale Möglichkeit zunutze, uns über eine Kultur grenzenloser Dummheit aufzudrängen. Millionen Internetnutzer sehen die hohen Summen und das ausschließliche Interesse an hohen Beträgen führt zu einer barbarischen Kultur. Der Kritiker verfällt in unnatürliches Schweigen.

Die „Fuck Yourself Art” kritisiert auf eine avantgardistische Weise unseren reformierten Zeitgeist. Ist die zeitgenössische Kunst nur eine Verbindung zwischen einem intelligenten Absatzmarkt und einer Masse, die einer Gehirnwäsche unterzogen wurde? Ist die Liebe zur Kunst noch in einer Vorwärtsbewegung begriffen, oder verweist diese Art von Nihilismus schon auf das Ende der Kunstgeschichte?
Der Künstler, der Händler, der Kunstkritiker, der Auktionator und der Kunstfreund … sie alle sind bedroht und müssen sich vor diesem blinden Wahn hüten!

Die „Fuck Yourself Art” antizipiert das Statement des Sammlers des 21. Jahrhunderts und spiegelt die neue Wirklichkeit wider.

Founder JOHN DOE
www.auctionsart.net

2016 Spring – Wim DELVOYE

Wim Delvoye 1990

Wim DELVOYE – 1992 – four windroses – mixed media – life-size

With ironic ardour, Wim Delvoye walks the line of provocation and confrontation. He turns all logic upside down, thus becoming the art juggler. He subtly abates the social status with the earnestness of his perfect craftsmanship. Rose des Vents, with telescopes protruding from the sculptures’ anuses, symbolises the universality of man. This precursor of his Cloaca-machine, which produces a daily turd, ennobles the commonplace and punctures the ego of the self-confident.

2016 Winter – Andy WARHOL

winter2016

Andy WARHOL- 1981 – Paul Delvaux – silkscreen and ink on canvas – 228 x 228 cm

Warhol makes art with machines, which makes him the great innovator of the twentieth-century art scene. Using photographs of noble portraits, dollars, pop stars, sex symbols and other popular themes, he became the hip visionary of a new era in art. He succeeded in replacing 800 years of painting by silk-screening, made in his Factory. Warhol’s flower became the symbol of the “happy flower power” period of sex, drugs and rock-and-roll, and so did Warhol himself eventually.

2015 Fall – THE GAO BROTHERS

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THE GAO BROTHERS – 2007 – Miss Mao – 235 x 180 (2 x) oil on canvas

The Gao Brothers (Gao Zhen and Gao Qiang) are building the platform of Chinese anarchy. Their father was killed during the Cultural Revolution under the regime of Mao. They impetuously infringe every taboo in China and unmask any form of censorship in order to unveil the hidden truth to the Chinese people. Miss Mao smashes the portrait of chairman Mao Zedong to smithereens.

2015 Summer – BANKSY

banksy

Banksy – 2003 – Happy Cop – spray paint on cardboard – life size

Banksy operates anonymously, restlessly, mysteriously and with a sense of humour.With a swift stencilling technique, he manages to decorate street walls all over the world with satirical messages. Politics, culture and ethics magically become communicative through the streets.   Banksy preaches his social engagement in silence and approaches the art world through a subculture.

2015 Spring – Keith HARING

haring etalage

Keith HARING – 1984 – oil on canvas – 457x 152 cm

The moment Keith Haring knew his AIDS virus was deadly, he painted this psychotherapeutic masterpiece. EROS, the Greek God of love – who passionately wants to reproduce – is implemented in the figure of Thanatos, the personification of Death. ‘Heaven and Hell’ represents Haring’s autoportrait in a female body, it symbolises his life and with this work he reconciles with death. Adrian David bought this masterpiece in puritan USA – after it was hidden to the public for years. Genius art scandalises and is always dramatically correct!

2015 Winter – Xiaogang ZHANG

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Xiaogang ZHANG – 1999 – Bloodline

Xiaogang Zhang is world famous for his old family photo paintings as painful memories of the Cultural Revolution. His Bloodline Series are politically charged and show a concept of conformity in the Chinese mass.

They portray a mental national phenomenon. The spot in deviant colour indicates an achieved individuality behind the mask of a forced perfect uniformity.

2015 Fall – John DE ANDREA

de andrea etalage

John DE ANDREA – 1984 – Girl with the red drape

2014 Summer – Zhang DALI

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Zhang DALI – 2003 – Chinese Offsprings

Zhang Dali first transformed the heads of a hundred Chinese immigrants into a death mask. These people, who moved to the cities in order to earn money, are subsequently depicted in the postures they assume daily. These Chinese ‘offspring’ are standing, sitting or lying down. They are hung by their feet against the ceiling. Immigrants who are forced to venture into the world in order to survive, have no names. They have a number instead. Dali portrays them as hovering people that participate in the development of urban structures. They are a product of labour and at the same time a consumer good deprived of all humanity.

2014 Spring – Frank STELLA

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Frank STELLA – 1971 – Cieszowa – mixed media on wood

Frank Stella shunned emotion by using simple types of paint and brushes. His colorfield paintings gave the impression he worked as a house painter. Stella refused to spread paint in order to seduce and expressed himself objectively. Cieszowa is made on a wooden panel, shaped according to his lines (shaped canvas), enabling him to emphasize his feeling for colours and lines even more. His paintings of monochrome lines illustrate his mastery of post-painterly abstraction. The symmetrical patterns create an artificial impression and have an intentionally destructive effect.

2013 Summer – 2014 Winter – THE GAO BROTHERS

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The GAO BROTHERS – 2009 – The Execution of Christ – life-size – Bronze