Ulrike Rosenbach
Art is a criminal action , 1972/96, photomontage, Diasec, 171 x 150,5 cm, Edition 4 / 6; Daimler Art Collection
How does> the aggressive female domination of men \u0026lt;to the path? How can their dominance in the arts, culture and society break to open up space for female perspectives? The 29-year-old Ulrike Rosenbach has tried it in 1972 just as obvious as effective answer: by slipping into the roles of famous men, the gun takes into their own hands and to the audience targeted. The title "Art is a criminal action " [Art is a criminal act] radicalized the issue again: The attack on the territory of male art production must not come along with a female modesty and humility, but must adapt the> criminal \u0026lt;energy forms of male domination in the short term, the practice of roles to make their voices heard.
Rosenbach's early photomontage as a template has a photograph of Andy Warhol's famous Double Elvis from 1963. The picture itself is part of a series that was exhibited in the creation of the Ferus Gallery in Los Angeles. For Warhol, a so-called> publicity was still \u0026lt;Elvis from the Western> Flaming Star "as a template. Instead of a guitar, Elvis holds a gun in his hands, a gun holster is the legendary hip wound, a hunting knife on the side. The result: a mythical image, aggressive, sexually charged masculinity as it had come with the advent of Pop also about Europe. Rosenbach imitated (with the express permission of Warhol) clothing and attitude of his Elvis and mounted itself - was then, a completely unknown artist - to the side of the celebrated rock stars.
Rosenbach's early photomontage as a template has a photograph of Andy Warhol's famous Double Elvis from 1963. The picture itself is part of a series that was exhibited in the creation of the Ferus Gallery in Los Angeles. For Warhol, a so-called> publicity was still \u0026lt;Elvis from the Western> Flaming Star "as a template. Instead of a guitar, Elvis holds a gun in his hands, a gun holster is the legendary hip wound, a hunting knife on the side. The result: a mythical image, aggressive, sexually charged masculinity as it had come with the advent of Pop also about Europe. Rosenbach imitated (with the express permission of Warhol) clothing and attitude of his Elvis and mounted itself - was then, a completely unknown artist - to the side of the celebrated rock stars.
Dr. Renate Wiehager
