Exhibition_men - animal
21.03 - 14.04.25
“Why do I live in the body of an animal, or why do I live in the body of a human, when my instincts and desires are so animalistic?” Swedish artist Nathalie Djurberg's figures seem to pose this question, writes Massimiliano Gioni. Djurberg's imaginary cosmology is exemplary of today's view of the relationship between humans and animals. Our relationship and dependence on animals, marked by exploitation and violence but also by respect and, not least, great love, will bind us together forever.
They are loyal companions, close allies and ancient soul mates. Humans and animals have been closely linked since the beginning of history. In the Stone Age, humans were dependent on animals, but animals were also a threat. They demanded respect from humans and thus took on the role of teacher - in the art of survival. Their otherness, the incomprehensible, transcended the human mind and had a mysterious and overwhelming effect. Animals seemed to bear the marks of the divine.
It is therefore not surprising that Greek mythology tells of countless metamorphoses. These were either deliberately performed by a god or goddess to achieve a personal goal. Zeus, for example, took the form of a swan in order to seduce Leda. Or the transformation was imposed on a mortal as punishment: Artemis transformed Actaeon into a stag. Mythology also tells of nymphs, cyclopes and centaurs. The centaurs were hybrid creatures, half man and half horse, untamed and wild, while the sea nymphs lured sailors to their deaths with their beguiling song.
These cross-cultural motifs have been handed down throughout the world in the form of legends and myths. The legends of the Dolomites also tell of mermaids, forest creatures and transformations. Understandably, the fascination of mythology has inspired artists over the centuries. The numerous representations of the Sphinx in ancient art are impressive. From the serpent in Christianity's paradise to the sacred cow in Hinduism, animals play a special role in almost all religious or mythological depictions.
In the past, myths or religious symbols were used to integrate the animal into the artwork, but today art is more concerned with the characteristics and humane coexistence of animals and humans. Certain characteristics of the animal are reflected in the artwork as symbolism. Admiration for the wondrous abilities of animals has always appealed to humans, and research and development have benefited from this. Many artists are now broadening our view of animal welfare. After all, it is becoming increasingly clear how disastrous it is for biodiversity and the planet's ecosystems when humans subjugate all other species. Instead of exploitation and domination, we are increasingly talking about solidarity and coexistence.
Animals always react differently to us humans, they are mirrors of the human soul. And so our faithful companions, the animals, will forever provide artists with inspiring means of expression.
This mutual emotional bond between humans and animals is explored in the exhibition 'Human-Animal' by artists Valentina Andrees and Emily Oberschmied. Both artists have their own personal style, which could not be more different. While Valentina Andrees uses a very realistic language and focuses on features and details with great empathy, Emily Oberschmied focuses on sensations, imagination and body awareness in relation to the animal world.
Valentina Andrees shows humans and animals as reconciled allies. They are transported to an exotic, fantastic world. Andrees fuses personal feelings and thoughts into her colourful, realistic compositions. With great intensity and technical clarity, she imbues her works with a mysterious and multifaceted essence.
Emily Oberschmied specialises in creating a fantasy world in her paintings that contrasts with reality and is populated by ambiguous beings. Her productions mix ambiguous themes and play with the registers of the bizarre and grotesque. The unusual and exciting subjects come from an otherworldly, dreamlike and mysterious world that the viewer can only guess at.
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