Apocalyptic for Everybody
Artist: Tara (von Neudorf)
Curator: Diana Dochia
17.01.2006 – 17.02.2006
Opening: 17.01.2006 at 07:00 p.m.
PAINTING IN THE EPOCH OF TERORISM
or a kind of letter for TARA
With an allusion to Lord Lawrence of Arabia T.E. Lawrence: All men dream, but not equally. Those who dream by night in the dusty recesses of their mind wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act their dreams with open eyes, to make it possible.
The themes for today’s radical painting, aggressively supported by tension and hypocrisy, can be easily the military fascist aggressions, the armed colonial expansionism, crimes, persecutions, assassinates, destruction, devastation of any type and of any kind.
Ancient totalitarism and religious totalitarism, each one alone with power, imposed projects of arrogance and obsession. And they opened the theories of the terrorist game. A suffocating terrible world… a way, a truth, a leader.
A world in which words like “wall” and “web” generate public anxiety, a world in which some build spatial rockets while others hide in caves, this kind of world brings movie sentences: a world with walls must be guarded by men with weapons…. And painters watch a lot of movies these days…
Who is Nixon, the anticommunist who made peace with communist China, who is Sharon, who is Arafat, are Colin Powell and Pony Blair, democrats de facto, are questions that easily lose their content…
The only moral direction against intolerance and for total justice is the pattern… what is America, what did America do…
The last episode of the tiredness through implication makes painting more than colour on a canvas. Painting becomes an image, an object, an ideology. Escaped from aesthetic control painting uses an absolutely critic language for arrogance, for false naivety, for brutal trivialities, for the clichés of the new subjectivity.
Politically implied in image, aggressive, inquisitive, sensitive, without any responsibility /namely he does not assume the responsibility of the motif or ideology/ TARA reacts. And reaction has always been a way to be interested and interesting. ‘Instant’ democracy and fantasy.
Using ‘non-artistic’, radical and underground gestures, TARA systematically implemented a campaign of eclecticism and stylistic irregularities. Succeeding to destroy the consensus every time. This way he easily produces a type of ‘bad art’ associated to artistic courage and a type of irony that makes any conceptual program irrelevant, sophisticated and prudent. The way he spells his name, the text in almost any work indicate not only the type of emotion is to be evoked, but also the type of positioning that follows. A dangerous pattern for the reality we do not see and we cannot describe.
A certain kind of emotion that attracts and exorcises a certain kind of emotion that is always associated to women portraits, to certain women’s portraits is somehow bizarre for TARA’s ugly realism. Women are the only ones who have the power and purity and ability to resist this violent political uproar, ideological jumble, inherent and endless extremism. This insertion that conceals the ‘red code’ is not TARA’s weakness, but a weakness of the system.
If the subject is built up of ideological abstractions or abstract appearances does not matter any longer. TARA does not seem interested in the worlds of appearances and in the worlds that substitutes appearances in the world of ideas. TARA seems absorbed in how things really look, absorbed in how these things are able to express ideas.
And his art cannot do but follow the same course in relation with the laws of art.
Liviana Dan, art critic