49 Geary Street, Suite 200
San Francisco, CA 94108
Two-person exhibition debuting Arnix and Max Papeschi. Works on view May 1 - 31, 2014.
Artist Reception May 2nd, 2014 6 - 8 PM,
Jarringly beautiful, hauntingly confrontational, and politically incorrect, Iconoclasm is the debur American exhibition for both artists Arnix and Max Papeschi. Through sculpture and digital collage these artists engage in an elegant, yet brash, dialog as each explores the relationship of power and exploitation within contemporary global culture. Utilizing religous, political, commercial, and cultural iconography for their lexicon, these two artists then strip them of their authority to reveal the savagery inherent in power and its implicit victim, ourselves.
In this exclusive worldwide first-look at sculptural artist Arnix (aka Arnix Wilnoudt), he reveals his never-seen-before exquisite sculptures that directly affront the traditional paradigms of power and subordination. Each is an allegorical exploration into the trauma of authority with immaculate craftsmanship and beautiful detail belying intense psychological perception. Antique religious artifacts combine with lifelike silicon faces, genitals and animal heads to form challenging treatises on egoism, conformism, dogmatism, self-respect, honor, desire, objectification, and abuse.
Max Papeschi's searing digital collages utilize the same semiotics as contemporary culture while simultaneously undermining their validity. Informed by mass marketing, globalized consumerism, and hyper-violence, Papeschi exploits the means of advertising to question its long-term effects. His works become a campaign of propaganda that locates the commonality between Disney culture, the Nazi Party, Coca-Cola, violence, and domination, amongst other themes. Although controversy from misinterpretations of anti-Semitism and anti-American sentiments envelop Papeschi's work--noted art historian Pnina Rosenberg, who specilizes in art and legacy of the holocaust, explains that his imagery stems from a critique of consumer icons and symbols of violence. It is the juxtaposition of these two worlds that bring the conversation of abuse to the forefront. "With Mickey Mouse, you can sell anything," gallerist Joan McLoughlin paraphases Papeschi's works, "That is the nature of the world Papeschi is combating, where everything is for sale, and therefore everything has a price."