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PUBLISHER
Kettler Verlag

BOOK FORMAT
Paperback, 8.25 x 10.5 in. / 184 pgs / 156 color.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2012 p. 106   

PRODUCT DETAILS
ISBN 9783862061013 TRADE
List Price: $55.00 CAD $72.50

AVAILABILITY
In stock

TERRITORY
NA ONLY

Dzama has proved immune to the digital revolution, resisting the zeal for new technology that really took off when he was still at art school. "Everyone was saying computers were going to be the future of art, everyone had to do something in this medium. And it was almost some sort of rebellion that I wanted to do these small, intimate drawings." He looks around the room and laughs. "Yeah, I'm sitting in front of a whole shelf of records and books. I don't go digital. I was never good with technology. I didn't have a cellphone until I moved to New York. My gallery was like, 'What? – how are we supposed to contact you?'"

So they bought him one – and these days, it rings rather a lot.

Hermione Hoby
The Guardian

  

KETTLER VERLAG

Marcel Dzama: The Never Known into the Forgotten


Marcel Dzama: The Never Known into the Forgotten

At first glance, Marcel Dzama's delicate works strike one as being almost innocent, yet a grotesque and occasionally gruesome universe opens up behind this façade

Marcel Dzama’s 2011 films A Game of Chess and Death Disco Dance revealed fascinating new developments in the artist’s iconography and range of media--perhaps most notably in his use of puppets and dioramas, which added more playful qualities to his imagery of conflict and terror, and underscored his dialogue with modernist artists such as Duchamp, Man Ray and Oskar Schlemmer. This volume, published for Dzama’s exhibitions at Sies + Höke and Kunstverein Braunschweig, reproduces a wealth of new work, including images, stage sets, puppets, dioramas and sculptures from the films; a suite of ten drawings called Forgotten Terrorists (2008–2011), that draw on a photograph of the Palestinian terrorist and hijacker Leila Khaled; and other recent drawings, such as “Pepper Spray Saturday” (2011), an interpretation of the already iconic image of policeman John Pike pepper spraying Occupy protesters at University of California Davis.

The protagonists in Dzama's charmingly but horrifically choreographed pictorial world, which appears to be devoted to the abysmal depths of humanity, are wearing masks, uniforms, bearing arms, dancing, making love, or in agony. Dzama’s uncanny dream world of the unconscious seldom develops a stringent narrative but creates a metaphorical landscape that invokes a whole range of associations and interpretations. In doing so, they absorb a wide spectrum of influences from older and more recent art history: Francisco de Goya, Dada, in particular Marcel Duchamp as well as Oskar Schlemmer’s Triadic Ballet. The pictorial aesthetics of the 1920s is typical of Dzama’s oeuvre, diversely augmented by references to literature, psychology, cinematic history, and current political issues.


Featured image is reproduced from Marcel Dzama: The Never Known into the Forgotten.

PRAISE AND REVIEWS

Huffington Post

David Coggins

"Marcel Dzama is the most renowned draftsman of his generation."

Marcel Dzama: The Never Known into the Forgotten

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