Reï¬ecting the impact of globalization and cultural fusion on personal circumstance, “Inside Out” deals with displacement, liminality and cultural identity in the lives of collaborating artists Klaus Knoll and Cella, neither refugees nor migrants or expatriats, rootless all the same. Like many of their projects, Inside Out shares an attention to the built environment, speciï¬cally to temporary architecture and ideas about the use of space.
Cella: These images diary a preoccupation with home. Creating a camera obscura out of places I have lived temporarily or imagined living is in a/my sense the embodiment of a place, a room (a sort of outer skin). The act of creating a camera obscura is a way of bringing that which is outside inside (a kind of internalizing which is not dissimilar to a plant digging its roots). The “live” rooms nurture a desire to belong where I am, a kind of non-material home and the photographs document these acts.
Klaus: We don’t have the same word: Cella’s “home” is not congruent with my “Heimat”. She is envious for something I lost long ago. We each form our own idea of the term, talking of roots and other subterranean intentions. Some experiences are still comparable, beyond all boundaries of culture and language: exile, being without a home, her early hunger for and my old hatred of normality. Home/Heimat is the focal point of this work, in fantasy as well as the one felt painfully missing. The play with projections speaks of deception, vision and the ï¬owing boundaries between them. The melding of interior and outer world, the mutual permeation of normally separated spaces is not without a certain erotic component.
Process: In apartments, houses, hotel rooms and other places we have stayed in we blacken the rooms with…
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Photography / Valokuvaus
The Songbird painting inspired by Egon Schiele (Austrian painter who brought out emotion in his work) loosely alludes to Edith Piaf, the first lady of French chanson. Piaf’s delivery in song is full of emotion and passion, not unlike Egon’s paintings and maybe hopefully my own. I am attempting to suggest that we need to look at European art, especially in Germany for inspiration in bringing back emotion to art, which had been artificially cleansed and purified by the Conceptualists the world over. Without emotion we become robots, portraying robotic, mechanical art.
Globalization and technology are forcing artists, curators and museum directors to rethink the world of art.
New art collectors are emerging from different parts of the globe and have pulled the art world away from the traditional centers of gravity in Europe and the United States.
The lines between high art versus popular culture and who consumes them seem to be blurring.
In my painting Incredible India I am attempting to show that all cultures can exist in different ways together. Europe and America needs to move over for India and China which are quickly establishing themselves in the art world.
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Essay / Essee, Painting / Maalaus