{"id":5730,"date":"1994-12-18T10:13:00","date_gmt":"1994-12-18T09:13:00","guid":{"rendered":"http:\/\/kunstmuseum.mscg-it.de\/?post_type=exhibition&p=5730"},"modified":"2021-01-21T15:19:42","modified_gmt":"2021-01-21T14:19:42","slug":"gilbert-george-shitty-naked-human-world-1994","status":"publish","type":"exhibition","link":"https:\/\/www.kunstmuseum.de\/en\/exhibition\/gilbert-george-shitty-naked-human-world-1994\/","title":{"rendered":"Gilbert & George. Shitty Naked Human World 1994"},"content":{"rendered":"\n
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Info<\/h2>\n\n\n\n

Gilbert Proesch was born in 1943 in the Italian Dolomites. He studied at the art schools of Wolken\u00adstein and Hallein in Austria and at the Akademie der Kunst in Munich. George Pasmore, born in Totmes, Devon, England, in 1942, studied at the Dartington Adult Education Centre, Devon, Dartington Hall College of Art and Oxford School of Art in London. They met in 1967 as students at St. Martin\u2019s School of Art in London. Since 1968 they have lived and worked together in London. In 1986 they were awarded the presti\u00adgous Turner Prize at the Tate Gallery in London<\/p>\n\n\n\n\n\n\n\n

The art of Gilbert & George, in which they themselves parti\u00adci\u00adpate as living beings, is unique. In the late 1960s and early 1970s, they presented themselves as works of art. In their perfor\u00admances \u2018The Singing Sculpture and The Living Sculpture\u2019, they sang the same song for hours on end and repeated the same movements, until the song lost all meaning, and the viewer perceived nothing but the \u2019sculp\u00adtures\u2019 Gilbert & George, in their grey suits with hands and faces painted silver.<\/p>\n\n\n\n

\u201cTo be with art is all we ask\u201d, they declared. It was their objective to become artists of their own tim, artists of the present day: \u201cWe have to devise a vocabu\u00adlary which reflects this age. We don\u2019t want to hide our weakness, our sexual behaviour, our thinking, our suffering, and all that belongs to mankind\u201d. They moved to the working-class district of Spital\u00adfields, where they found most of the motifs of their art, called their house \u2018Art for All\u2019, and invariably wore identical tweed suits in subdued colours, which gave a note of serious\u00adness to their appearance.<\/p>\n\n\n\n

Gilbert & George made their first black-and-white photo piece in 1971. It consisted of indivi\u00addual photo\u00adgraphs, arranged on the wall to create a sort of assem\u00adblage. From 1974 onwards, they empha\u00adsized the expres\u00adsive content by intro\u00addu\u00adcing a red tint.<\/p>\n\n\n\n

The series \u2018Mental, Dirty Words and Red Morning\u2019 of 1976 and 1977, were overtly about neglect, power and oppres\u00adsion, religion, graffiti and other manifes\u00adta\u00adtions of cultural and urban disin\u00adte\u00adgra\u00adtion. In formal terms, the indivi\u00addual photo\u00adgraphs are closely juxta\u00adposed, but each remains an autono\u00admous image. Since 1980, each work has contained (mostly) a single image, held together by the grid formed by the frames of the indivi\u00addual rectan\u00adgular segments.<\/p>\n\n\n\n

In 1981\u201382 they began to use vivid colours to unders\u00adcore the narrative cartoon style and the expli\u00adcitly sexual themes of their work. Personal fears and concerns, as in the series \u2018Modern Fears and Modern Faith\u2019 now took the place of overri\u00adding social subjects. These works evolved into long and often enormous friezes, which show photo\u00adgraphs of the artists side by side with young men: peudo-family pictures, with stereo\u00adtyped gestures.<\/p>\n\n\n\n

In 1986 Gilbert & George reverted to a political theme \u2013 that of class conflict \u2013 with the tryptych \u2018Class War, Militant, Gateway\u2019, more than 25-metres long, in which youths of different races fight shoulder on shoulder: \u201cWe are not here to congra\u00adtu\u00adlate society for how it is. We want to see change. Impro\u00adve\u00adment and advancement\u201d.<\/p>\n\n\n\n

In 1989 they produced the series \u2018The Cosmo\u00adlo\u00adgical Pictures\u2019. Here, youths, as perceived by Gilbert & George in their own surroun\u00addings, become the central figures: teenage boys with modish clothes and hairstyles, appar\u00adently self-assured and yet somehow forlorn. In 1990 a major Gilbert & George exhibi\u00adtion was shown in Moscow. In the \u2018New Democratic Pictures\u2019 of 1991 the artists showed themselves alone or with male models: all (the young men, but also Gilbert & George) seem to be helplessly searching for a way to survive in an ever-more-menacing environ\u00adment. In 1992 Gilbert & George made a body of new works which travelled to Beijing and Shanghai in 1993; they were among the first contem\u00adporary Western artists to be shown in China.<\/p>\n\n\n\n

In January of this year, Gilbert & George started to work on a new series, completed only a short time ago. They call the results \u201cthe most emotio\u00adnally moving pictures the have ever made. \u201cHuman excreta were already a theme in some earlier wors: here, shaped excreta dominate the scene. Gilbert & George themselves, who appear as prominent, naked figures, express an unpre\u00adce\u00addented range of human feelings, including affection, need of support, subjec\u00adtion and fear. For the first time anywhere, the Kunst\u00admu\u00adseum Wolfsburg will present a selection of these works.<\/p>\n\n\n\n

Although not intended as a retro\u00adspec\u00adtive, this exhibi\u00adtion will afford an overview of Gilbert & George\u2019s artistic evolution since 1977. In the main hall of the Kunst\u00admu\u00adseum Wolfsburg, some of fifty works, measuring up to 5 x 11 metres, will be shown in severel tiers. A film programme will present records of the artist\u2019s perfor\u00admances, a documen\u00adtary on Gilbert & George, and the film \u2018The World of Gilbert & George\u2019.<\/p>\n\n\n\n

Gilbert & George have repeatedly pushed their work to the borders of bad taste and porno\u00adgraphy, and have deliber\u00adately violated social conven\u00adtions that continues to this day. They say of themselves: \u201cWe are: Unhealthy, middle-aged, dirty-minded, depressed, cynical, empty, tired-brained, seedy, rotten, dreaming, badly behaved, ill-mannered, arrogant, intel\u00adlec\u00adtual, self-pitying, honest, successful, hard-working, thoughtful, artistic, religious, fascistic, blood-thirsty, teasing, destruc\u00adtive, ambitious, colourful, damned, stubborn, perverted and good. We are artists\u201d.<\/p>\n<\/div>\n\n\n\n

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Info Gilbert Proesch was born in 1943 in the Italian Dolomites. He studied at the art schools of Wolken\u00adstein and Hallein in Austria and at the Akademie der Kunst in Munich. George Pasmore, born in Totmes, Devon, England, in 1942, studied at the Dartington Adult Education Centre, Devon, Dartington Hall College of Art and Oxford [\u2026]<\/p>\n","protected":false},"featured_media":5401,"menu_order":0,"template":"","meta":{"wp_typography_post_enhancements_disabled":false,"kunstmuseum_formatted_page_title":"","exhibition_title":"Gilbert & George","exhibition_subtitle":"Shitty Naked Human World 1994","exhibition_alternative_text":"","exhibition_start_date":"1994-12-18T10:47:00","exhibition_end_date":"1995-03-12T10:47:00","exhibition_gallery":"","exhibition_poster":5199},"tags":[],"yoast_head":"\nGilbert & George. 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