21.01. - 17.01.2010
Julian Rosefeldt’s film work reveals a clear development from a historical-documentary attitude to a lavish theatrical presentation. Whereas in Stadt im Verborgenen (1994) and Detonation Deutschland (1996) he systematically examined the interface between ideology, architecture and power, the works beginning with Global Soap (2001) instead deliberately dispense with ideological clarity and aim at a complex staging of the rituals and structures of our everyday life. Particularly in the film installations Asylum (2001/02) and Trilogy of Failure (2004), the artist utilizes an exuberant, almost baroque pictorial language which bathes his scenes in a calculatedly surreal light. The exaggerated artificiality with which the artist conducts his investigations of the absurd shallows of our reality causes the profound truths lying behind the spectacle to emerge all the more clearly. Thus Asylum focuses on our clichés about foreigners; for example, Rosefeldt presents in nine tableaux vivants Chinese fast-food cooks in a monkey cage, or Moslem cleaning ladies in a cactus house. It is precisely its abandonment of political correctness and its play with the vocabularies of kitsch, inappropriateness and exaggeration which guarantees the succinct impact of this work. In the best sense of the words, the work proves what it really means to distort the world to the point of recognition.