A Photo Booth Biennale, Epilogue V

A second look at The Artwork Will Be Present, 2013.






1. Robert Mapplethorpe Calla Lily, 1988
2. Robert Mapplethorpe Leather Crotch, 1980
3. Robert Mapplethorpe Mountain, 1983
4. Robert Mapplethorpe Veronica Vera, 1982
5. Robert Mapplethorpe Self Portrait, 1980

By now, it should be evident that this 'exhibit' is about the aestheticism of the 'ugly' side: the human longing for the most basic means of survival. As victims of our nature, we do deny the subliminal. Yet, we cannot stop ataring at it. This gaze is being well provided by Mapplethorpe.
/HORST

A Photo Booth Biennale, Epilogue IV

A second look at The Artwork Will Be Present, 2013.





1. Ida Applebroog Work in Progress, 2005
2. Ida Applebroog You Are The Patient, 1969–2011
3. Ida Applebroog Monalisa, 2007
4. Ida Applebroog Unknown (Dora)

In a way, Applebroog sums up the world and everything that counts: water colour genitals, explicit clay content, distorted comic/al bodies. Her message(s) seem so clear, they are calling for miss-understanding.
/HORST

A Photo Booth Biennale, Epilogue III

A second look at The Artwork Will Be Present, 2013.





1. Wouter Vandenbrink Unknown
2. Wouter Vandenbrink St. Tropez
3. Wouter Vandenbrink St. Tropez
4. Wouter Vandenbrink Portugal

Vandenbrink can be regarded a contradiction in itself. His early editorial and late personal work draw two opposite poles: romantic (commissioned) studio blur and (self-imposed) beach hyper-reality. His images pose one question: What is genuinely constructed, or naturally commercial?
/HORST

A Photo Booth Biennale, Epilogue II

A second look at The Artwork Will Be Present, 2013.



1. Nobuyoshi Araki Colourscapes, 1991
2. Nobuyoshi Araki Untitled, 2010

It wasn't until a visit to Vienna that I had been fully introduced to the work of Nobuyoshi Araki. When sexual obsessions, fetishistic contemplation and the excuse to create 'art' disembogue into documents of ego and reach a high visual quality based on the 'low' human impulse.
/HORST

A Photo Booth Biennale, Epilogue

A second look at The Artwork Will Be Present, 2013.






1. Ryan McGinley Tommy & Heather, 2012
2. Ryan McGinley Falling, 2007
3. Ryan McGinley Back Against Wall, 2004
4. Ryan McGinley Jack (Hanging Rock), 2009
5. Ryan McGinley Brennan (Clear Poncho), 2007

Ryan McGinley has been chosen for his ability to portray naturalism in such straightforwardness, his photography turns into art/ificiality. He is a poet, an voyeur, a free-spirited extremist. And he shows us what we are (not).
/HORST