- ReMap4 ADDRESS
52 Iassonos (kafeneio i arta)
Artist: Tjorg Douglas Beer
Curator: Anna-Catharina Gebbers
- PERMANENT ADDRESS
Alte Dorfstrasse 27
15518 Steinhoefel OT Neuendorf im Sande
Images and texts courtesy of the artists
Galerie Utopia Berlin / Athens
Psycho Cowboys curated by Anna-Catharina Gebbers
Tjorg Douglas Beer was born 1973 in Lübeck. He studied in Hamburg at Hochschule für Bildende Künste. His work has been shown internationally in museums and galleries e.g. at Kunstverein Hamburg, Weserburg, Museum für Moderne Kunst Bremen, Project Space Kunsthalle Wien, Timothy Taylor Gallery, London, Tate Modern, London, X-Initiative, New York, Hokkaido Museum of Modern Art, Sapporo, Remap3 Athens, Palais de Tokyo, Paris, basedinberlin, Neue Nationalgalerie im Hamburger Bahnhof, Berlin. Solo exhibitions e.g. at Kunsthaus Hamburg, Institute for Modern Art Nuremberg, Kunstraum Innsbruck, Stadsgalerij Heerlen, Contemporary Art Institute Sapporo, Mitchell-Innes & Nash, New York.
‘Kids with Guns’ by Anna-Catharina Gebbers
‘Kids with Guns’ explains that you have to become a type of monster to fight monsters. The song is performed by the virtual supergroup Gorillaz, a taciturn punk, a prepubescent Asian girl, a misanthropic rocker and a good-natured hip-hop hunk with a tendency to tantrums. They are symbols of extremely marketable forms of youth protest. These comic pop star prototypes were created by the Tank Girl artist Jamie Hewlett and the musician Damon Albarn. Their protagonists take over promotion dates and the role of projection surface. Hewlett, Albarn and varying colleagues, like Prometheus, Frankenstein and Faust rolled into one, pull the strings in the background. They articulated their unease with the lack of substance of the MTV world neither by making appearances as themselves, shouting protest slogans, identifying physically with the aesthetic of truth, nor as a theatrical embodiment, with the aesthetic of a production. They did it as cool-headed studio musicians. They hold up a mirror, with the aesthetic of resistance, to an aesthetic of rebellion that has become anaemic. With this aesthetic of resistance,
Tjorg Douglas Beer’s works highlight social topics. According to Jacques Derrida, things happen not by art representing, imitating or putting a political reality on the stage that takes place elsewhere but by politics or the political being allowed into the structure of art and thus the present also breaks apart. Figures made of ceramics, holding up their middle fingers and making Nazi salutes, as in Beer’s work, do not really represent a political message. They are much too fragile for that. Their glaze is much too sugary and their faces are painted too sickly pale. The form and material cause the preconditions for judgement to falter: the present-day breaking apart, interruption of the regular, deconstruction of political simulacra. Like figures from ancient mythology. – ’is she real, is she’ asks Neneh Cherry’s voice softly, accompanied by a repetitive funky bass. Artificial beings. Staged with borrowed gestures and poses. Dead, lifeless eyes stare into the barrel of the gun. Monster versus monster.
Anna-Catharina Gebbers is a Berlin based independent exhibition maker, writer and director/curator for Anna-Catharina Gebbers | Bibliothekswohnung, Berlin. She teaches i.e. at the University of Bayreuth, the Berlin University of the Arts. She recently works on an exhibition about Christoph Schlingensief that will be shown at Kunstwerke Berlin in autumn 2013 and 2014 at MOMA New York.