Birth and Death Are Still an Analogue Matter ...
Vernissage: 3 May 2018, 18:30
With this exhibition Suscha Korte consciously takes position against the alleged anachronism of painting. And shows that the genre is more relevant than ever?
Exhibition: 3 May - 31 August 2018
Artist: Suscha Korte (Cologne, GER)
Welcome: Prof. Dr. Véronique Zanetti (ZiF)
Introduction: Dr. Britta Hochkirchen (Bielefeld, GER)
What significance does classical painting have in the Digital Age? In how far can it hold its ground against highspeed internet and the concomitant inflationary, at times manipulative flood of pictures generated by the new media?
The artist explores these and other questions. In doing so she reveals the diversity of painting by quite different techniques – professing herself to the analogue world - as a reference, continuous in values and time, to human existence and to the creative process.
There have always been breaks, caesuras and revolutions; but hardly any invention has accelerated, agitated and hystericised the pulsing of the world in quite the same way as digitalisation has. Our brains, our thought structures and our basic needs, however, are still on the level of Stone Age men, i.e. determined evolutionarily and genetically. Suscha Korte's intensely narrative and complex pictorial universe deals with this unswervingly valid form of human existence, in which encounters, experiences and memories as well as fears, hopes and dreams define our needs. In which a deep dialogue between work and spectator unfolds, leaving space for contemplation and reflection. Not the sensation, the affect, the consumption of the picture as an instance of needs-creating.
The exhibition is an hommage to the analogue, the real life, implying physical presence, direct confrontation and immediate dialogue. At the same time, the exhibition title is meant as an appeal to courage, confidence and an active contention with phenomena and problems of our time. In this context painting serves as a medium of contemplation and new departure. And provides a sustainable argument against passivity, external determination and dystopian resignation – a "still..."
Suscha Korte's portraits tell about being human and about the life traces left by everybody. The large-sized works, often designed as diptychs or triptychs, do not show an effigy of "the human", but dwell on entity by means of everyday objects such as plates, records or household items arranged in a seemingly random manner. The motives thus function as a playground of associations for the individual (hi)story and the human fate behind it, as projected areas for their wishes, dreams and hopes, fears and worries. This way they develop a narrative power demanding from spectators to reflect their own (hi)stories and to unleash both an inner monologue and a dialogue with other spectators. The artist contrasts true-to-life and highly detailed motive portraits with neon-typographies – in a vein ranging from ironic to sardonic – advertising promises such as "happiness" or "home" and once more revealing life's dialectics and contradictions. Despite raising the juxtaposition of pole and antipole, of utopia and dystopia, of structure and chaos Suscha Korte's work is characterised by a deep confidence, basic trust and subtle humour – and thus focusses, along with philosophical magnetism, on the power of affirmation.
Suscha Korte studied Art and Painting at the Muthesius University of Fine Arts and Design and at the Glasgow School of Art (GBR). Her works were exhibited, among others, at Museumsberg Flensburg and in international galeries and form part of numerous private collections in Europe. She lives and works in Cologne.
"EBV (Trotzdem)", 2014
"Flagge zeigen", 2015
"Vanilla Ride", 2016