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Art News:
Zevs: 楽å/Heaven - exhibition and reception
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Zevs: 楽å / Heaven
29 April â 14 July 2013
Opening reception: 29 April, 19:30~21:30
(English below)
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Street Art in the 21st century is an amalgam of a wide range of disciplines, which are not unified theoretically or technically, and that, largely, progressed into the establishmentâs recognition. It has made quite a journey from the late 60s and early 70s iconic hip pop cultureâs tags and graffiti paintings, and while still rooted in anarchism and the subversive, often is identified with activism and social criticism. Since the 1990s Street Art has also established itself as a real movement, with a real community, hierarchies, means of communication and a visual language. It has no particular agreed style however, or a certain technique, but is rather a hybrid of different practices and the reappropriation of symbols and globally recognizable images and themes.
Such reappropriation is the French artist Zevsâs series âLiquidated,â a sequence of familiar brand logos, dripping with paint, which he started to produce in the mid 00s and earned him international recognition. The ubiquitous logos of major international corporations, which we are so accustomed to see dozens of times a day, such as McDonaldâs, Louis Vuitton, Chanel, and Google, among others, are treated with Zevsâs painting technique to produce visually compelling and sensitive images, dripping with paint, playfully hinting infirmity, and suggesting disintegration, while deriding the 20th and 21st centuriesâ obsession with consumerism.
It is common for us to think that buying power and the ability to possess âdesigner goodsâ symbolize our freedom, elated social status and comfort, but Zevsâs obsession with consumerism, objects and logos, teaches us in the most subtle of ways that this freedom is an illusionâwe have evolved to be the prisoners of these corporations and their exploitation. Zevs exposes the psychological reality of consumerism and shutters the paper-thin illusion that sugar-coats them to deceive us so eloquently. Visually, the dripping logos are beautiful and poetic, if not morbid, just as pain and death usually are. They immediately recall a wound, dripping blood, a murder, and the puddle of paint that often collects beneath the logos is both elegant and alarming.
The exhibition at The Container showcases a recent poster diptych Zevs has designed and pasted on the streets of New York City, entitled Adam & Eve (2013). One of the images of the diptych depicts a âliquidatedâ version of Appleâs logo, while the other makes a reference to the renaissance painting Adam and Eve from 1526 by the German painter Lucas Cranach the Younger. We instantly recognize the iconic composition of Cranachâs painting, a young man and a woman, somewhat erotically, sharing an apple, the fruit of wisdom. The context, however, is newâthe couple is situated in the Apple store in NYC, with the companyâs logo hovering over their heads and reflected again on the glass walls. The apple they are sharing is none other than Appleâs logo illuminated from an iPhone, while the leaves that conceal the genitals in the original painting have been replaced by iPads casting male and female genitals taken from internet porn. The irony is fervent and thought provoking.
In addition to the posters Zevs is mounting a relating installation inside the container: a laptop, covered with gesso and the Apple logo projected on it. In first view, the projected image seems to be an illuminated logo, similarly to the one you would find on some of the corporationâs actual laptops, though as one approaches the treated laptop for closer observation, oneâs body serves as a partition and the logo, which is projected from above, disappears. The allegorical subtext that emerges evokes again the illusion consumerism encompasses, and presents it as an unattainable entity.
The exhibition at The Container would not have been possible without the kind help and support of Institut français du Japon â Tokyo and Kansai. We are grateful for their assistance, hard work and funding.
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Sent to — why did I get this?
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The Container · 1-8-30 Kamimeguro · Meguro-ku · Tokyo, Tokyo 153-0051
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