The artist Cosima von Bonin (Mombasa, Kenya, 1962) is one of those tireless creators are constantly produce, investigate and explore works, concepts and means to build a very large plastic proposal but defined by certain specific interests , as are all those possible aspects of the artist against the social space for exploring and altering it, the mechanisms established in the art world. Von Bonin, usually aimed at the representation of stories collective or individual to inquire about possible forms of cultural expressions and elements that determine them, such as: television, the implications of techno music and hip-hop, the ways they have been and are represented gender, individual identity in the world today, the present nature of play, the universe of home, among many other issues that are significant parts of the issues that have positioned von Bonin as one of the leading figures of the art Current German.
BYE-BYE RAUMLABORBERLIN UTOPIA
With the construction of a gigantic staircase, which almost split The lobby, the KUB raumlaborberlin arena has made it his new director Yilmaz Dziewior wanted to achieve: a communication forum and a space for the negotiation of new forms of representation.
architects group operates on the edges of ordinary architecture, keeping track of changes and the various negative phenomena and explore alternatives.
There fixed monitors on the ladder, which is constructed of prefabricated doors of former East German buildings, through this project can get a glimpse of the spaces normally inaccessible Zumthor elegant building.
hidden threads are woven ride and visitors who become tangled several times, they do not actually provide guidance.
The first part of the exhibition is dedicated to Moritz von Oswald, one of the most influential composers of electronic music and techno music pioneer ("AKA Oswald Empire '). We can find references to Martin Kippenberger (' AKA Kippyie Empire ').
Under the glass roof and accompanied by the sounds of Oswald von Bonin opens its field multiple references to the biographical credentials, friendships and working relationships with kindred spirits. Von Bonin feels a bond with the pessimism of Thomas Bernhard (some of his films shown in the exhibition), his critique of the cultural and political system and in particular ironic observation of these phenomena accompany the exhibition.
creativity
the end offset all the negative attitudes, including those of resigned weariness, a mood exuded by some of their big plush wool. These colorful creatures, animals, fungi, humorous cartoon figures, have made known this artist and witness of his laconic approach of serious art.
These reminiscences of childhood play create a direct contact with visitors. Noting the strange creatures
seems as if von Bonin is portrayed as one child and little commitment to social issues through a partnership of exuberant fun. Some stuffed animals soft or hard look with skepticism on stage. These positions, like fences, pallets, crates and cages are intended to awaken the need for freedom.
The second part of the exhibition is dominated by a trio of cars: a sleek Toyota, miserable design of cardboard and wooden whimsical model with cloth upholstery and pink accessories decorated with red and white. The sculpture of the lamp that glows with the cigarette is a tribute to Martin Kippenberger is represented in duplicate.
This second part of the exhibition is dominated by a trio of cars: a sleek Toyota, miserable design of cardboard and a wooden model with pink cloth and accessories decorated with red and white.
One of the most recognizable sculptures is sculpture lamp glowing with a cigarette, is an homage to Martin Kippenberger and is represented in duplicate.
In the latter part of the exhibition, the visitor arrives, so to speak, to himself. Accessing a wooden replica of the conference room of the museum. The visitor is drawn to the comments mad, embroidery and four finger gestures white Mickey Mouse hands down on large collections of material.
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