She said no
The first refusal, the first sentimental delusion with all its intense and devastating bitterness: it is this delicate moment which the four young artists are invited to remember and relive with their heart. This first pain often represents a breaking point, when the difficult and necessary awareness of ourselves, of our desires and limits, is closely tied to an inevitable confrontation with the other, particularly with the one who preceded and inspired us.
In the constant search for individuality and personal style, the artists face and often break away from the examples of their masters, from the cultural environment that nourished and fostered their imagination, with a sense of homage and gratitude towards something that has inspired them but which, at the same time, they perceive as a burden to be free of, or a debt to be paid .
The denials of the four artists display their individualities, their obsessions: towards unicity inherent in the concept of ‘icon’ through the countless repetitions of an image (Conrad Ventur); towards neon, a material used by the masters of Conceptualism and compelled to twist, delete and deny any possibility of communication (Stefan Bruggemann); towards music tapes used as visual tapes and compelled to silence (Gregor Hildebrand), or towards nothingness, which is transformed into reality with the paradoxical creation of a legendary non-existent German noise band in the 1970’s (Jamie Shovlin).
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