Written by: Renny McFadin Renowned contemporary artist Adrian Ghenie, born in Romania in 1977, decorates his work with various defaced figures and gruesome scenery. Through these more morbid elements, he aims to investigate and highlight the more violent parts of Europe’s history. By intertwining a multitude of fears- personal, collective, historical- Ghenie successfully documents the traumas of 20th century Europe for a 21st century audience. Often armed with a palette knife and stencils, Ghenie attacks the historical figures displayed on his canvas in a manner akin to Francis Bacon. Ghenie's works are constantly imbued with elements of the Northern European Renaissance. By borrowing the rich texture found in many renaissance paintings, Ghenie easily depicts contrasting elements to create an aura of uneasiness and precaution, another commentary on a rough past. Crystal clarity contrasts collapse. Fluid, dripping paint contrasts the sharp scrape off of the canvas. Chiaroscuro mars all of his works, and yet calls upon a nostalgia of the renaissance we never experienced. Frequently Ghenie provokes thought regarding the political and scientific ideologies of the 20th century. Charles Darwin seems to be a recurring subject, amongst other notable individuals like Joseph Mengele. Communism and eugenics often make an appearance in his work- again depicting a part of Europe often swept aside in lieu of more insouciant ideals. Perhaps this is why his work could be deemed controversial, or maybe his obvious perversion of other artists? For example, in his piece The Fake Rothko, a man is depicted retching aside a Rothko painting. Conceivably, this could incite joy? Pleasure? Or maybe a deep rage or confusion? This seems to be an adequate response to such strong works.
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AuthorsNATALIE KIM is a junior at MLWGS and is committed to informing others of history being made in the art world. Archives
April 2019
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