In our age, identity has become something of an obsession. Andy Warhol predicted the perennial pursuit of one’s “15 minutes of fame”, and celebrity status represents the ultimate destination of success. The art world has been far from exempt from this trend: the persona of a well-known artist is often as carefully crafted as his artwork. The cult of personality can reap considerable profits, as the latest record-breaking artworks of Klimt, Picasso, and Pollock will attest to. The elusive nature of creative genius garners a level of worship that makes today’s museum as sacred a place as yesterday’s cathedral.

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One of the most exciting tendencies of art is its ability to constantly upend itself. Styles are meant to be challenged, theories debunked, rules broken. In the end, the role of art is to make us see things differently, and just when we think we have done, shake up our world again.

Just as we read about the latest most expensive painting being sold, or the hottest young art star hitting the scene, a quiet countermovement is taking place. The cult of personality is making way for the quest for anonymity. Art collectives shun what they see as outdated values such as egoism, fame, and recognition. Avoiding limiting designations such as roles or credits, collectives bring the focus back to the work itself, art for art’s sake. more »

Sculptures and installations of the artist Thomas Baumann possess the quality of being alive. Usually, they are moving. They de-form, they make noises, they move their observers: emotionally, in terms of their beliefs, through the challenge to participate even physically. Movement, says the artist, is a language of our time. We understand it and feel addressed by it on different levels.

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Thomas Baumann’s produces his work from mechanical, technological, and electronic materials. The units of construction have their own aesthetic, and do not remain hidden behind the façades of design. In this way, the sculptures retain the quality of being mechanically engineered works of art which create the effect of being the siblings of those machines that are used in the production lines of industrial manufacturing. more »

The little superhero, Superrobbie, who looks like a Playmobil figure, appears together with his other little brothers-in-arms in an image that resembles children’s room wallpaper, strewn in cheerful crayon shades. Surrounded by cute little ducklings, little Superrobbie places himself in a scene of contrasting reality, toting a pistol in his hand. Stretched out before him are his dead teachers, who are embodied in a similar Playmobil form. The dark side of the image reveals itself in its title: “Erfurt”.

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Christian Pölzler create his art under the brand name, Heidi Popovic, which may seem cynical at first, but actually isn’t. Through pop poster images, through decorative wallpaper samples, through advertisements that promise us that “everything is OK”, Pölzler salvages forgotten images and maps a modern political apocalypse. more »