2023-08-19 16:37:51
So far, the only thing that has been known about Ms. Niedecken is that she is Mr. Niedecken’s daughter. That’s not much, admittedly, even if you got along well in life with the meager knowledge. At least now we know that Ms. Niedecken is also a painter. And if you leaf through her work online, you will encounter a large and a small rabbit, a red crescent moon, and “Scusi mein Schmusi!” is written in the starry sky. Lots of funny pictures where the funny things look like a tidy toy box.
Of course you should know more. That Isis-Maria Niedecken is a “German model”. That she doesn’t like galleries. That she is completely happy with her Instagram account. That she belongs to the celebrities from sports, politics and show business, who are presented as part-time artists in a memorable exhibition at the NRW Forum in Düsseldorf. Along with the singer Tim Bendzko (“Just say yes”), the soccer player Josephine Henning, the rapper Samy Deluxe, the actress and author Lea Draeger, who wrote the famous novel “Jesus in the Nursing Home”, the Albanian Prime Minister Edi Rama and one around a dozen illustrious personalities, all of whom you somehow know, even if you don’t know art that well. Even the convicted impostor Anna Delvey aka Anna Sorokin is part of the cast of “Beyond fame” and, when asked what themes are in her art, truthfully states: “Crime & Punishment and Fashion in Pop Culture”.
What connects the performing top performers is that they all have a so-called name, that they lead a public life as entertainment providers, that they have a Wikipedia entry, that they belong to the category of fellow human beings that you know more about without knowing them better. Just not that they are all active in art production.
„Always Succumb“ von Pete Doherty
Quelle: Courtesy of janinebeangallery
At the same time, one suspected that one day the urge to paint would infect the rest of the people who had previously felt quite at home on the side of the world that was turned away from art. It must be a law that rules with class-busting relentlessness. Let’s take Michael Stich. Back then, Wimbledon anno 91, final win against Boris Becker (6:4, 7:6, 6:4). Today a serious businessman who, in front of his door-high pictures, speaks to his colleague from the television into the microphone, yes, he is doing splendidly and is very proud that he is allowed to exhibit here.
Craziness. What happened? Gone are the days when art was still a specialty, as risky as the disposal of explosive ordnance. And the artists ran around like messies and had to fight their way through a despondent life until they finally arrived in the Hall of Fame. Today they are born there.
Like Harald Glööckler, the famous designer from Maulbronn-Zaisersweiher, who puts on his make-up like a late Roman senator in the Fellini film. We know that he not only put a second “ö” in his name, but also recently graced a village church in Rümmingen in Baden with a church window that was at least decent. When he stood in the pulpit at the handover, some in the benches felt like a Good Friday shiver down their spines. But who would have thought that the painter would pay homage to the free play of colors and forms in everyday life, far removed from design and church, and that he would get a whopping thousand bucks on the market for beautifully framed (“hand-signed”). For monumental formats, like the ones he had dragged into his creepy Düsseldorf cabinet, of course more. And when half the workforce of informal art springs to mind in front of the somehow hemoglobin-laden, heavily vampire splatter painting, that’s simply proof that there’s nothing left to harvest in the field of abstraction.
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As everything has been said and done anyway, and there isn’t much left that absolutely needs to be said and done. Anyone who thinks they have to make new art “Beyond of fame” is obviously making old art in front of a dense backdrop, which has become famous even without a Wimbledon victory. This is how everything looks in one way. And in the life shadow of the entertainment industry only more or less pompous rework seems to succeed. This is no different for Tim Bendzko’s pessimism in a happy successor to Pierre Soulages, Michael Stich’s vaguely vagabond images, or the enigmatic conceptual installation by the actress Meret Becker, who once played Rumpelstiltskin in the comedy “Werner Beinhart”. than for the street art attempt in the rapper’s bunk.
Perhaps it really is our problem that we always think of models and we can’t help but think that all the fascination with art stems from its mysterious capacity for renewal, from the sudden power with which it becomes original again and again. But that is not a valid objection. At least not when the enterprising museum director Felix Krämer is concerned with mobilizing new groups of visitors.
Isis Maria Niedecken in her studio before the works “Dinner Party” and “Brunch Invite”
Quelle: Hans Berger/Courtesy the Artist
To that extent it deserves applause, of course, that art is no longer a distinguishing feature, that it no longer takes place in isolated milieus, that it hardly differs from other similar leisure activities. And perhaps it really is a sign of democratic progress that it has become widely available. Also for the model and the fashion designer. That art and making art no longer has anything to do with passions and obsessions, at best with a good attitude towards life, and that there is nothing in principle standing in the way of self-calling to create art.
That, at least, is progress that would have been considered completely impossible in times of educated middle-class reservations. And the timid objections, which once wanted to expect excessive, surprising, overpowering art from art, were suspicious of being elite in a worrying way. Opening the house for everyone, as Felix Krämer says, including and especially for those who can only be mobilized with a good portion of promises of entertainment, that is most likely to succeed if you show the public that art has long since resulted from widely spread responsibilities and that’s fine long gone from presumptuous privileges. A once difficult idiom that has miraculously become slang.
Seen in this way, the exhibition is absolutely right when it is proud of its previously little-known artists. When Peter Doherty is announced, the British rock musician (“Can’t Stand Me Now”), who recently appears with a peaked cap, cane and large petting dog, then it is the name alone that seduces, and the scrawled skull on his drawing is already there forget when you see him.
Although the thing with the name is also a bit tricky. The fan group behind Anton Hofreiter should be rather clear. The Green politician with the long hair and the doctorate in biology has his place in the German Bundestag, occasionally takes painting time off, prefers to paint flowers in front of a mountainous panorama, paints them ready for coloring, would never paint beyond the edge when painting. And it’s certainly not forbidden if you’re wondering why the hobby has to go public. But under conditions of mass sport similar public support and low-threshold art and adventure offers, the question has already been answered and Hofreiter is an excellent choice.
Well, we’ve long since learned that talent is distributed differently, that rich pieces of art aren’t always available and it’s not worth arguing about painting anyway. The talents remain unequally distributed even under who-can-who-may conditions. But if there is a medium in which inclusion has succeeded completely smoothly, without any resistance, then it is art. All are called. At least everyone who has already made a name for themselves, sung, made them up or fought for them in some other way. The painting meat saleswoman would definitely not invite Felix Krämer into the house.
One is amazed at the fantastic impartiality with which all suspicion of genius has been secularized and everyone – with more or less prominence – claim their natural share in what was once remote from art. Hofreiter stands in front of his pictures as Rubens would have stood in front of his pictures if there had been press photographers at the time. And if you watch from a suitable distance, the botox-like self-confidence is a bit embarrassing. But the hobbyist is of course right: First of all, paint flowers in front of a mountainous panorama, ready for coloring.
Josephine Henning in front of the work “Night Scene”
Quelle: Courtesy Josephine Henning
#Prominent #Hofreiter #selfconfidence #shame