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This exhibition combines a series of ballpoint pen drawings and photographs by Michael Deistler from between 1978 and 1985 with recent pictures by Max Schulze. It is rounded out by publications, films, and rarely seen pieces from members of Deistler’s generation on view in several display cases.
Deistler and Schulze steer clear of any sort of phony harmony. Foul and strong language, the imitation of painful awkwardness … about as embarrassing as the rear shelves of middle-class cars in the 1980s, or, because there are no rear shelves anymore today—more transhistorically speaking—as embarrassing as a “sad sack,” an ill-starred (male) character who stocks up at the hardware store to prepare for potential crises. “Life is full of Obi moments,” as the DIY superstore chain’s advertising has it. Vacuous phrases, rote morality with a cultural veneer, poorly repressed, bad conscience, shame, boastfulness, all that is evil, bruised, and darkly inscrutable.
The sacred gravitas...More
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Press Release
This exhibition combines a series of ballpoint pen drawings and photographs by Michael Deistler from between 1978 and 1985 with recent pictures by Max Schulze. It is rounded out by publications, films, and rarely seen pieces from members of Deistler’s generation on view in several display cases.
Deistler and Schulze steer clear of any sort of phony harmony. Foul and strong language, the imitation of painful awkwardness … about as embarrassing as the rear shelves of middle-class cars in the 1980s, or, because there are no rear shelves anymore today—more transhistorically speaking—as embarrassing as a “sad sack,” an ill-starred (male) character who stocks up at the hardware store to prepare for potential crises. “Life is full of Obi moments,” as the DIY superstore chain’s advertising has it. Vacuous phrases, rote morality with a cultural veneer, poorly repressed, bad conscience, shame, boastfulness, all that is evil, bruised, and darkly inscrutable.
The sacred gravitas...More
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