Artista

Alex Majewski

1959 en Düsseldorf, Nordrhein-Westfalen, Alemania
alex majewski duesseldorf
Residencia:
Reside en Düsseldorf, Nordrhein-Westfalen, Alemania
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Descripción del Artista
Alex Majewski, lives and works in Düsseldorf. After a classical apprenticeship as a photographer, Majewski first worked in advertising and fashion before he was discovered by artists and became the “master of the lens” for their projects, who was able to convert ideas into images. In 1993 he began to work as a freelancer for photo and video projects at the Art Academy for Media in Cologne. As a co-founder of the Viennese artist group “I AM”, he was the perfect team worker for the implementation of large, international exhibition projects. From this, in the course of his work, the claim developed to formulate his own artistic statements and to create thematic groups of works. This was followed by his own exhibitions in Düsseldorf, Berlin, Cologne, Madrid and the Netherlands, which are always about exploring aesthetic boundaries. “Sushi” combines disgust and appetite, beauty and shame in aesthetic glossy photography. From a bright red ... painted mouth, which signals eroticism, a fine stream of saliva shoots like a torpedo at a deliciously prepared sushi. We think of an iguana that can chase its food with its tongue at lightning speed. A taboo break, a provocation and yet we are captivated by an aesthetic that ignores all physical laws. "The history of modernity is at the same time a history of the dismantling of the idealistic concept of beauty, according to which the" beautiful "and the good are viewed as an expression of spiritual order and truth." The facial cut-outs in the "blow-up" are pure surface, glamorously artistically stylized by body fluids, making them disgusting or pathological Taboo. " "OralArt" gives you goose bumps on the tongue. In a whisper, a whisper of seduction brushes the tongue and the palate, pleasurable premonitions run through the nerves, which, stiff with anticipation, prepare for their pleasurable hunger. They want to hold onto it, like a blind predator they are going insane with every second of delay. If the seduction is also sweet-illusory and bitter in the aftertaste, it is orgiastic at the moment. The eye also eats, even if marriageable love always goes through the stomach. It is our culture, the culture of speed and perfection, in which the artificial replaces nature. This development encompasses even the most natural human needs: food and sex drive. The result of the creed of our culture is the degeneration of the authentic. Self-denial through self-correcting for the better. Sensuality becomes virtual because our senses do not know the difference in the age of technically reproducible illusion. Majewski's latest work, the series “The Madonnas”, goes one step further in the consistency of his artistic principle, which is increasingly manifesting itself as the focus of his work. Based on the advertising world known to him, which is about the “perfect face”, he now also questions religion about eroticism and culinary art. Just as he explores the boundaries between appetite and disgust, eroticism and obscenity, beauty and depravity in “OralArt” and “Sushi”, he also plays with the emotions and moral limits of his audience in “his” Madonnas. Majewski hired professional models to stage the Madonnas and had make-up artists transform them into seductive, flawless beings, whose gestures and poses reflect something of the glamorous advertising world that seduces us every day. Majewski uses the human longing for something higher, holy, even adorable and creates in his productions a kind of parable of the "Blood Weeping Madonnas". In a performative act, he paints the blood-red tears with his own hands on the white complexion of the models, just as a painter puts the last, decisive brushstroke on his canvas. Majewski provokes us, society, to find our limits ourselves, to take a closer look and to feel what we, influenced by advertising, perceive as “good” and “beautiful”. He experiments with our reaction to his staging and forces us to define our own position. --Sabine Weichel, 2009--

 

 
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Entrada actualizada el el 23 nov de 2021

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