Slow Graffiti was produced for Da Corte’s exhibition at the Vienna Secession in 2017. The video is a shot-for-shot remake of the film “The Perfect Human” by Danish filmmaker Jørgen Leth (1967). The original is narrated in an anthropological manner, or as if listening to a guide at a zoo, but Da Corte’s version is stranger and more philosophical. Leth’s film has uncomfortable implications, such as: is the perfect human white, attractive, detached? The original, which is shot with a sense of fashion (resembling contemporary clothing commercials), offers mixed signals about objectivity, and at the very least a provocation about the notion of human perfection. Slow Graffiti features the artist performing Frankenstein, specifically the monster as brought to life by the actor Boris Karloff. During an interview, Karloff made the statement, “that monster was the best friend I ever had,” in speaking about his iconic portrayal of Frankenstein in the 1931 Hollywood film. This statement animates Da Corte’s Frankenstein, caught in forces tender, humorous, absurd and destructive. As an icon, Frankenstein represents ‘an idea come to life’ but also absorbs through metaphor the kind of transformations that results from technological intervention. In the original story by Mary Shelley Frankenstein is also composed of many different parts, from different bodies, and so suggests an assembled identity, mixed background, polyphonic references and influences, that continue to find relevance in contemporary life. The voiceover and audio-track, which diverges in bizarre, critical, suggestive, and poetic ways was scored by Devonté Hynes.
Alex Da Corte’s works conveys a state of delusion, where logic is set aside in order to access the stranger, deeper parts of our minds. In this state he wrestles with vernacular culture, often taking a run at iconic figures and motifs from the inventory of popular American consumables. Da Corte’s work has roots in Pop-art and is imbued with a love and feeling for color as well as a sense of how a store-front-window display might turn tragicomic. This odd portmanteau, a combination of ‘tragic’ and ‘comic,’ speaks to a conflicted identity, a sense of pathos, an emotional zone between or beyond categories. In Da Corte’s work, a sense of dry comedy, sometimes mixed with the abject or absurd, is balanced with the macabre or heart-breaking.
For his project Book of Veles artist Jonas Bendiksen travelled to the small city of Veles in North Macedonia, inspired by a series of press reports starting in 2016, that revealed Veles as a major source of the fake news stories flooding Facebook and other social media sites celebrating Donald Trump and denigrating Hillary Clinton...
Nghệ thuật Xin giấy phép Triển lãm ở Việt Nam | ArtsEquator Skip to content Tại một đất nước như Việt Nam, nơi có những yêu cầu không rõ ràng về việc trưng bày, Linh Lê nhấn mạnh rằng chỉ cần một thứ tưởng chừng đơn giản như xin giấy phép triển lãm có thể trở thành một cách kiểm duyệt biểu đạt nghệ thuật...
The Top Art Exhibitions of 2023 | Art & Object Skip to main content Subscribe to our free e-letter! Webform Your Email Address Role Art Collector/Enthusiast Artist Art World Professional Academic Country USA Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua & Barbuda Argentina Armenia Aruba Ascension Island Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia & Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Canary Islands Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Ceuta & Melilla Chad Chile China Christmas Island Clipperton Island Cocos (Keeling) Islands Colombia Comoros Congo - Brazzaville Congo - Kinshasa Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d’Ivoire Denmark Diego Garcia Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard & McDonald Islands Honduras Hong Kong SAR China Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao SAR China Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands North Korea North Macedonia Norway Oman Outlying Oceania Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Réunion Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & South Sandwich Islands South Korea South Sudan Spain Sri Lanka St...
Imagine How Many by Margo Wolowiec is a woven polyester depiction of blurred text and floral images found on social media, distorted beyond complete recognition...
Mandy El Sayegh grew up in a medicalized environment, surrounded by anatomy, biology and psychology publications; these books inspire the figures that appear throughout her work...
Au non de la liberté (Tiko drink Kumba drunk) is a photographic series by Zacharie Ngnogue and Chantal Edie that considers the correlation between those who hold power in Cameroon and how their actions affect the populations they rule in often compromising ways...