New Texte zur Kunst Editions – Jun 2016

John Miller, The Fantasy of the Fantasy, 1993/2016 SOLD OUT

John Miller, The Fantasy of the Fantasy, 1993/2016This piece by John Miller is a remake of “The Fantasy of the Fantasy,” the 1993 edition he made for Texte zur Kunst issue 11, “Feminismen.” “No gender specificity, not even in the multiples! Neither our selection of artists nor their works are limited to a single gender,” read the accompanying descriptive text. As the current “Fashion” issue now stars all kinds of genders, Barbie and Ken are still only two; this reminds us all the more so of consumer culture’s ingrained anachronism, which is further underscored by the fact that these dolls, made of plastic, are molded from a base material of the postwar American dream (Mattel Inc.’s Barbie launched in 1959, in fact inspired by the German doll Bild-Lilli). In this work, such stuck-ness is literalized as Miller plants these figures, leaving their heads and arms mobile, pelvis-deep in plastic flowerpots that he has slathered in a blend of modeling clay and acrylic paint – the abject gunk that, similarly applied to other consumer objects, became a trademark of his art in the 1980s and ’90s.Barbie and friends, among many other mannequins and dolls, are frequent revenants in Miller’s work – nearly always caught, in various states of undress and damage, in all-too-human situations. It’s their very imperfections that make the “sex appeal of the inorganic” so irresistible. For this reprisal of “The Fantasy of the Fantasy,” Miller has used a variety of dolls, with variable hair colors and skin tones. Our picture shows Fab Life Beach Nikki, her pink sunglasses pushed back in her hair, and Beach Ken. Unfazed by their quite awkward situation, they welcome, smiling, the bright future that is surely theirs.
Medium: Plastic dolls, plastic planter, acrylic modeling paste,
Size female figure: ca. 20.3 × 20.3 × 17.8 cm
Size male figure: ca. 21.6 × 20.3 × 20.3 cm
Edition of 80 + 20 A.P.
With numbered and signed certificate,
Price couple: € 650
Also available as:
Only male - Price: € 350
Only female - Price: € 350

Torbjørn Rødland, Furry, 2015

Torbjørn Rødland, Furry, 2015Torbjørn Rødland is an LA-based Norwegian artist. Informed by the Pictures Generation’s self-reflexive use of commercial media and its embrace of the Barthesian “birth of the reader,” Rødland takes up the conventions of genre photography. But as the viewer registers the image, the semiotic constellations do not resolve; rather, the viewer is pinned by the weight of her own subjective projections. Viewing “Furry,” for example – Rødland’s edition for Texte zur Kunst – one is drawn in by the photograph’s attractive palette and the codes of commercial fashion media. But parsing the image, one quickly hesitates: Is this photograph racist? misogynist? exploitative? And yet objectively, it is none of the above. Objectively it is a patently open image, like a stock photo. What is given: the subject is dark-skinned, maybe young; the slight contrapposto, shape of the legs, and pedicure suggest the subject is female; new-looking, beige, wall-to-wall carpeting covers the floor. The star of the composition, from a narrative angle, could be the subject’s furry legwarmers – a key component of the trashy “festie angel” look so common to EDM shows – but the subject, appearing in this sterile, contemporary setting (and here the projection begins) of a dressing room, a hotel suite, a new development home, signals anything but “rave.” With Rødland’s work, such disruption of expectation is taken as a given; it’s up to the viewer to cohere meaning. Published in Rødland’s most recent book, “Confabulations,” “Furry,” like the volume’s other images, is an analogue photograph, rendering the work’s surreal quality all the more uncanny.

Medium: C-print,
Size: 35.5 x 28 cm,
Edition of 100 + 20 A.P.,
Signed and numbered on the back,
Price: € 350
These limited editions are available at Texte zur Kunst

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