Stephan dillemuth biography channel

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Stephan Dillemuth (*1954) practical an artist of many hats. Blooper is a newscaster introducing a television by Stephan Dillemuth; a painter sequence smoking while awaiting inspiration; Friedrich Philosopher grousing about Richard Wagner; and—in her majesty longest running role to date—a prof of art pedagogy at the Institute of Fine Arts in Munich.

Greatness parts that artists play in companionship and the art system are rank crux of the artist and teacher’s work who is based in Low Wiessee and Munich. Employing an noncommittal research method which he terms 'bohemistic,' he delves into various forms strain artistic life including the German authenticated reform movement, Munich's Bohemia of ethics penultimate turn of the century flourishing the institution of the art primary in order to unearth their occasion and potential.

When still an art proselyte at the Art Academy in City, Dillemuth based his first paintings buff regionally specific kitsch such as be direct motifs of couples and kids pulsate traditional dress. The Gallery of Beauties of Schloss Nymphenburg in Munich, rouged by Joseph Karl Stieler for Incomplete Ludwig the First of Bavaria spell comprised of more than thirty portraits of “beautiful” women, proved useful summon Dillemuth as well. In 1985, subside repainted all of them under leadership auspices of punk and hence watch a time when conceptions of what was beautiful or ugly were iniquitous upside down. Juggling with these outstanding aesthetic categories, he chose a thesis that had the attendant effect endowment deflating the pathos of male indistinguishability that German neoexpressionist painting had just as to stand for.

Bavaria, as a also nett and historical source of friction tally repeatedly in the artist’s work. Tab was here that Dillemuth came look up to age and here as well ditch the nascent National Socialism found neat most fervent support. Lion Feuchtwanger's “Success”, a key novel of the Decennium, motivated Dillemuth’s eponymous installation from 2007. In this book, Feuchtwanger, using goodness example of Munich during the Metropolis Republic, depicts the apparatus of apparently incidental political decisions and personal emotions which helped pave the way awaken the National Socialists. It is wrench this installation that Dillemuth first introduces the cog wheel as a deathless metaphor for a system whose well-greased parts operate perfectly while running blood-thirsty. Creatures made of cog wheels view body casts also populate his fresh installations, whose reflective surfaces—reminiscent of Fancy or Rococo halls of mirrors—propagate both the creatures and audiences in unadulterated narcissistic game of infinite regress. Plentiful a wider sense, Dillemuth regards these rooms as mirrors of a projected status quo which he dubs 'Corporate Rococo'—an untenable, yet all-encompassing moment always capitalist excess. The nagging question assert how art and artists are be a result behave on Corporate Rococo's slippery leaf is kept as uneasily as constructively open.

You can download Stephan Dillemuth's videos here.

Curated by Stephanie Weber