2023-10-06 10:25:00
Since time immemorial, we have encountered horror in almost every form of art, be it paintings, stories or fairy tales, sculptures, songs or films. Despite its longevity, horror in art has, according to critics, a reputation for being kitschy or superficial. Westrey Page, exhibition curator “Death and the Devil – The Charm of Horror” at the Kunstpalast art museum in Düsseldorf, believes that this is wrong.
In recent decades, this topic has only been slightly mentioned in exhibitions in other museums, Page clarifies in an interview with DW. However, the connections between different genres have never been the focus until now. That’s why Westry Page is curating an exhibition called Death and the Devil, which for the first time highlights the fascination of horror in all its forms in fine art, fashion, music and film. “This broad approach was important for this first attempt at exploring this topic,” Page said.
Historical classification of horrors
The exhibition begins with a historical prologue. It illustrates how horror has shaped the history of art and culture over the centuries. The horrors range from the fantastical demons of the Renaissance to the landscapes of Romanticism with their dark shadows and characters like Nosferatu that made people shudder in the early horror films of the 20th century.
Purgatory, heaven and hell. Triptych “The Last Judgment” (1848-1852) by Friedrich Wilhelm von SchadowPhoto: Kunstpalast – Horst Kolberg
The prologue shows that artists of different eras, such as Albrecht Dürer, Friedrich Wilhelm von Schadow and Francisco de Goya, dealt with horrors and dark dreams. “Above all, I hope that many visitors will be able to classify today’s interpretations of horror differently and perhaps even treat them with more respect,” says Page.
Continuity in horror creation
Clips from classic German Expressionist horror films such as Nosferatu or The Cabinet of Dr. Caligari, as well as promotional posters for later classic horror films such as The Exorcist or Halloween, show the continuity with which horror has written itself into history of cinema. The main body of the exhibition, comprising 120 pieces, consists of paintings, illustrations and artifacts from various art forms from the last two decades and demonstrates strategies in re-creating horror.
Still from Robert Eggers’ detective horror film “The Witch”, 2015Photo: A24 Films
Films on this topic can have both subversive and conservative powers. They can serve as a warning about the unknown, and also allow us to change the way we look at society and ask the question: who is the monster and who is the hero or heroine? Since the release of the first King Kong movie, the old hero versus monster formula has been questioned. In many modern vampire films, the bloodsuckers are no longer the villains, they are individuals who have to live in a much more cruel society.
An attempt to assert one’s otherness
The central theme of the films is always the same: a certain center of the story is threatened by something from the outside. According to Westry Page, “the monster, witch or vampire is trying to assert its otherness,” and this dynamic often allows you to look at the structure of the world differently – with different eyes. A horror film can question social norms and power structures. “And that’s something we’re seeing more and more in horror now – across a variety of genres, including pop culture,” Page says.
Lady Gaga album coverPhoto: Universal Music International, Interscope Records
The otherness of the monsters changes the aesthetics. For example, the images of the goths influenced the creations of such designers as Rei Kawakubo, Rick Owens, Victor and Rolf. Record covers, band t-shirts and Gothic, Wave or Metal slogans are heavily based on old myths and horrors. Today, this symbolism appears in pop music, including in the form of Lady Gaga, who lovingly calls her fans “little monsters.”
Crossing boundaries that allows you to understand new things
Horror art has actually been experiencing a renaissance in recent years, reflected, among other things, in the great international success of series such as The Walking Dead, or the hugely successful Monster High series of dolls from the American toy manufacturer and Mattel’s Barbie, in which characters such as Frankie Stein, daughter of Frankenstein, and Draculaura, adopted daughter of Dracula and student at Monster High, wreak havoc. The advertising slogan for the doll series is: “Be yourself, be unique, be a monster.”
“It’s about me being happy and accepting that I’m different from others,” says Page. While preparing the exhibition, she herself was surprised by the diversity of the horror genre: “It can be serious, it can be socio-political, and it can be delightful. Horror can be funny, with dark humor, how diverse it is.”
Art composition by American artist King CobraPhoto: Doreen Garner / Foto: kunst-dokumentation.com / Manuel Carreon Lopez
American artist King Cobra’s sculpture of simulated flesh exploring the vulnerability of the body that evokes disgust, the cover of Lady Gaga’s album, Max Schreck as Count Orlok in the classic silent German horror film Nosferatu, a Symphony of Terror – all three cross the boundaries, trying to share their visions of certain things or problems through moments of shock. “I think elements of horror in art give us the opportunity to confront our own fears and ultimately look at our society and analyze it from a different perspective,” sums up Westry Page, curator of the exhibition Death and the Devil – The Charm of Horror. . The exhibition in Düsseldorf will last until January 21, 2024.
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