Since we began advertising exhibitions like consumer goods, art has had to make an effort to look smart. Most recently, for example, the products MOMA and GOYA permeated the market to the same extent as OMO and ARIEL, so that one can almost refer to self-defence when an artist conceals his critical standpoints behind the most matchless of all blockbuster titles: Monet: A Retrospective.<\/p>\n
For Serkan \u00d6zkaya’s subject matter is far from Impressionist painting, but as a critic and analyst of the art business, he knows which key words cause the international exhibition business to respond greedily. \u00d6zkaya’s sculpture “Goldenboy”, which forms the focus of his exhibition in the K\u00fcnstlerhaus, is a life-size sculpture that appears to be hanging itself, but simultaneously unites the various stages of physical agony. Together with this “Archive of Movements in Time”, he is presenting photographs and a video work, which already attracted attention at the 9th Istanbul Biennial.<\/p>\n
A double exhibition has thus emerged in Studio 2 on Mariannenplatz: the concrete exhibition that the visitor finds and the exhibition imagined by a harmony-seeking audience that delights in retrospectives when announcements in the events magazines and daily newspapers promise a survey of Monet’s oeuvre.<\/p>\n","protected":false},"template":"","categories":[],"class_list":["post-12049","kb_exhibition","type-kb_exhibition","status-publish","hentry"],"acf":{"article_image":15381,"article_image_bu_de":"","article_image_bu_en":"","datum_suche":"2014-06-20 10:27:37"},"yoast_head":"\n