“Don’t trust me, I’m homeless” Exhibition

“Don’t trust me, I’m homeless” Exhibition

Ed. Varie

This event has ended.

Never before in the history of art and western civilization has it been less clear than it is today as to what criteria we should be using to view the images our society produces. This is a natural result of poststructural paradigms, which have shifted the responsibility of image-making from the producer to the observer. Images no longer enable themselves; they are granted the status of meaning-bearers by their audience. This phenomenon has for some time affected not only aural works but also the visual productions of mass media. It is recognizable with one glance into a teenager’s bedroom, where youths culture’s prevailing idol hangs on the wall and has been since the late sixties. And when the Swedish multinational clothing company Hennes & Moritz launches its new underwear collection each year around Christmas, grown men wander through the cities like iconolaters attempting to secure posters of lace-covered Claudia Schiffer or Naomi Campbell. The fusion of high and low culture so clearly revealed in this example appears to have taken place precisely at the level of the image’s surface.

Because of the rapid increase in cultural referenda and hybridization, an entirely new self-image has also developed in the production of art. As the media philosopher Beat Wyss prophesied, pop plays an eminent role as the paradigm of a revolution, whose force will overflow the century’s threshold. When we say pop, we no longer mean the aesthetic movement of Pop Art originating in the early sixties, but are speaking of an all-embracing, cultural historic axiom that has developed into an integrative way of living throughout the world and the disregards existing political, aesthetic, cultural and social frontiers. From the viewpoint of bourgeois ideals, the worst-case scenario leads to the disneyfication of our world.

Seen positively, however, something new is created when culturally entrenched hierarchies and political orders are dismantled, on the one side, and commercialization and mediatization know no bounds, on the other.

Andre Yvon (b. 1980) lives in Brooklyn, NY. He received his BFA from the Maryland Institute College of Art and his MFA from the Rhode Island School of Design. He has had solo exhibitions at Society, Sydney, AU; GCA, Brooklyn; and Hood Gallery, Brooklyn. Group exhibitions include Alaska Projects, Sydney, AU; David Zwirner, New York; Shoot the Lobster, New York; Knockdown Center, Queens; Orgy Park, Brooklyn; and Zolla Lieberman Gallery, Chicago, among others. He is the co-founder and director of Bible, NYC.

Artists in the exhibition include:
Michel Auder
Kurt Beers
Lizzi Bougatsos
Thomas Carter
Paolo Cirio
Joey Frank
Jonathan Paul Gillette
Dana Goldstein
Monica Hernandez
Royal Jarmon
Joan Jonas
Yasmin Kaytmaz
Pooneh Maghazehe
Luke Mertz
Luke O’Halloran
Cyril Porchet
Sven Sachsalber
Walid Sad
Carolyn Schoerner
Nolan Simon
Valentina Vaccarella
Ben Werther
Jordan Wolfson
Andre Yvona

Media

• Installation

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