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The vacancy that pervades, it's more understandable when the artist comes from scenography. They're supposed to lack subject. That emptiness you feel, that's art.
There was the briefest micro-genre of "theater art" - Otto-Knapp, Lutz-Kinoy, Okiishi, Mauss - for whom art leveraged its ostensible excuse/raison as painting-as-backdrop to make totally gentle paintings. Which went wayside when people just started making paintings again, no excuse needed. But the original "real-fake doors/paintings" may be Heimo Zobernig (also coming out of theater scenography) - who made a stupider and therefore more menacing version, a truly fake art that by getting mixed into the real stuff presented a pretty scary question, until we decided it didn't matter, the art party needed its backdrop.
The vacancy that pervades, it's more understandable when the artist comes from scenography. They're supposed to lack subject. That emptiness you feel, that's art.
There was the briefest micro-genre of "theater art" - Otto-Knapp, Lutz-Kinoy, Okiishi, Mauss - for whom art leveraged its ostensible excuse/raison as painting-as-backdrop to make totally gentle paintings. Which went wayside when people just started making paintings again, no excuse needed. But the original "real-fake doors/paintings" may be Heimo Zobernig (also coming out of theater scenography) - who made a stupider and therefore more menacing version, a truly fake art that by getting mixed into the real stuff presented a pretty scary question, until we decided it didn't matter, the art party needed its backdrop.
