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Vienna is currently a great scene for prominent American artists, which is a coincidence. Since last Sunday in the Kunsthistorisches Museum, Louise Lavler has been converted by American mythical chronicler Ed Rus (of course, Galerie Gagosian) from Verbund in the "Verbund" and almost mythical to living icons of American art from today in secession. Ironically, his first solo exhibition in Germany is the conceptual offspring of pop art, which will be in December of 81, his so far the clearest statement against the political situation in the United States. It's not very subtle at first glance, but more views of these theatrical films – in the Russians you have to say film – gives performance, the deeper you can see.
The story is tense: three pairs of pictures lead to dystopia. If you enter the main hall, stand in front of a star banner, which continues to move in front of the sky above the sky. After passing through the wings, the same American flags pass before the dramatic sunset, ending before the apocalyptic version for the Western eyes – the flashed flag in the black and the blue night. The parade of this visual bar was followed by literary-poet drummers: The Russians turned old traces into the tones, into circular images, decorated with typical shingles that spoke in the heart of America, in Oklahoma, where he grew up. Here he likes to give up the grammatically incorrect form of double negation. For example: "Nobody denied anything" or "I'm not telling you a lie". What language would have been canceled? Normal.
Normally, there's nothing else here
But nothing is normal, and not in the art of a heroic "national painter," such as Ed Ruschas, who lives in Los Angeles, and not at this show, which he calls "Double Americanisms", and is specially made for the secession of 57 new works, It makes sense here. The flagship motifs are duplicated, there are new digital prints of images that were created since the 1980s, last 2017. Ruscha does not want to say a lot to everyone, he actually speaks for himself. Asked if he was a patriot, he only answered at a press conference that he had never been to Disneyland and McDonald's and had no iPhone.
Russia became more and more a short chronicle of things that make up the American myth in pop culture, as its prophet, starting with one of the first books of modern-day artists published in 1963: "Tventisik Gas Station" showed SV photographs of gasoline the station located on the road 66. Or with the image of the Hollywood letter against the evening sky, also appearing in secession, as a motif on two mirrors like a screen, one of which enters the exhibition.
Circus banners can be seen as a continuation of the Russian Venetian Biennale in 2005, which took the historical model of the painter Thomas Hudson's college (1801-1848), with which the Russians, as far as this is concerned, are dark, kasandrahaft-prophetic: a five-year cycle Painting Cole "The Course of Empire" shows the rise and fall of civilization. Ruscha took over this dramatic, almost film sequence for his contribution to Venice. He doubled his series "Blue Collar" from 1992, a series of images of fictitious economic objects known from the American industrial suburbs. The new series showed the same characteristics of the landscape, only ten years later. It did not look better, and not necessarily worse, at least differently – the phone booth disappeared, instead of the English advertisement the Chinese should be seen, etc. The rating stays with the viewer.
This sobriety and neutrality of views that are typical of the Russians, it seems that moral limitations have fallen into secession. Ruscha decided to work for the first time? Or does it show only a Hollywood reflex, a predicted end to which everything can only ever go, the Apocalypse? But where is the happy ending?
Double Americanism, until January 20, Tuesday, 10-18 h.
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