| Lukas Pusch, Berliner Weiße mit Schuss (Berlin White with a Shot). Image courtesy of the artist. |
|
With
his new series of wryly satirical and inventive woodcuts, Lukas Pusch
takes an old fashioned medium and turns it on its head. Pusch toys with
the limits of metaphorical language–turning common German expressions
and puns into ruthlessly satirical images. The result is explosive. Berliner Weiße mit Schuss (Berlin White with a Shot),
the title refering to typical German drink, shows a female corpse
with a revolver slouched against a wall, the Berlin skyline
rises behind her. For And Ostöffnung (Open East), he presents
an inflatable rubber doll–always ready, always willing. Horror carved
in wood. Playing on innocuous figures of speech, Pusch lures us in. But
these works are not merely pictorial onliners. He uses the easily
recognizable style of old propaganda posters, showing us how
catchphrases, so apparently benign as to be ignored, can betray unseen
poisons.
In Pusch’s painting Duchamps vs. Beckmann,
we see a woman pissing not in Duchamp’s urinal but on the
painter’s leg; the painter, drops his pants under the blissful smile of
Nietzsche’s moustache. It is a lonely and agnonizing image–the
painter left with a stinking mess of debated icons, and debased
forms. Pusch paints his dilemma, our dilemma: the knowledge of the
other side of the story. And Pusch’s answer–a humorous, if cruel,
synthesis of oppositions–may be our last chance at redemption. |