Start > Ausstellungen > Andrei Molodkin. Liquid Black - 21. Juni bis 16. September 2012

Museum Villa Stuck Museum Villa Stuck

Katalog »Andrei Molodkin. Liquid Black«

Zur Ausstellung erscheint ein Katalog im Kehrer-Verlag mit Texten von Margarita Tupitsyn und Victor Tupitsyn sowie mit einem Interview mit dem Künstler, deutsch/englisch, Festeinband, 144 Seiten mit über 130 Abbildungen in Farbe, ISBN: 978-3-86828-317-4, erhältlich im Museumsshop zum Preis von € 28, –

 

Pressestimmen zu Andrei Molodkin

“Molodkin’s nod to Flavin recalls the latter’s own series of works from the 1960s dedicated to Vladimir Tatlin, reflecting an understanding of the circular history of influence. While the future of H.G. Well’s novels often saw science and industry as the saviour of mankind, Molodkin draws attention to the instability of such a utopian vision of balance and uniformity.” (Annie Blood, Burlington Magazine)

“Andrei Molodkin makes art that is aggressive, unmoving, clever and almost arcane in its battles with history. … Oil, the lifeblood feeding modern infrastructures and also the medium of modernist painting, is aestheticised into political art challenging the bloody cost of oil-dependent capitalism.” (Jackie Wullschlager, Financial Times Magazine)

“Molodkin seem intent on attacking illusions and the comfort of ignorance and in that sense his work has a powerful didactic edge in the tradition of early Soviet art experiments. [“Transformer No. V579”] and Molodkin’s other, equally challenging work, would seem to subscribe to the view that art shapes consciousness and he emphatically agrees it should attempt to do so.” (Michal Boncza, Morning Star)

“Molodkin may use ‘simple metaphors’ but they are amazingly punchy. His statues of Christ are filled with oil from Islamic states. The pumping oil or bloody brings new life to the classical forms he uses.” (Nick Curtis, Evening Standard)

“It is easy to concentrate on the shock value of Molodkin’s sculptures, but that would ignore the important art-historical ground that he is treading, working with a new medium to create work that has social and political resonance, remains stubbornly undecorative, and fires the imagination at several different levels.” (Peter Aspden, The Financial Times)

“In the spirit of 1917 and the Constructivists of that moment, there is an abstract kineticism of machines that electrifies the air, as the whir-thump-and-wheeze of small pumps on the floor propel oil through hollow resin signage located on the floor, walls, and podia … Like tentacles, the hoses capture the resin forms, crudeoil pumped words “Justice” and “Democracy” into a greater mythic totality reminiscent of the serpent-strangled “Laocoön,” the famous Roman sculpture of a Trojan priest and his sons being dragged under by a sea monster. Striking an inversion of morals, if the vignette taken from the “Aeneid” tells of the founding of empire, Molodkin’s tells of its imminent demise.” (Charissa N. Terranova, Arts and Culture Houston)