Matthias Weischer

Ecke, 2005
Oil on Canvas, 40 x 30 cm
51st Biennale, Venice
1st November 2005

Despite his work being in the Saatchi collection and at Frieze 2004, I had never seen it in either print or at an exhibition before. This is a man who is obsessed with interior space. Almost every painting shown was an interior, all sparsely furnished and unoccupied. In fact I cannot even remember a door or window and the overall effect was of very claustrophobic spaces. I felt they were almost a mental space rather than an actual space - probably because there were limited details to associate with.

My favourite was this simple painting of just a corner. It is typical of the work shown, exploring space through the construction and deconstruction of an imagined interior by building up layers of paint at the same time as creating overlapping perspectives. The paint is so thick that it overhangs the edge of the canvas (see below) making the image almost a sculpture. Then having created the space and depth within the picture, with the thickly painted surface he reminds us of the flatness of the painting by covering areas with fine speckles or drips of paint.

In all of his interior views there is an all-prevailing absence of a utopia, they are sites that seem to have no relation with the real space of Society. However, nor are they sites of voyeurism like the sets of television reality programmes such as Big Brother. These are fundamentally unreal spaces, offering nothing to distract the occupants from their own existence or let them forget their own life. We are given no clues as to the function of the rooms and without windows and doors it is as if the outside world doesn’t exist.

The other interesting aspect of these spaces is the difficulty one has assigning a date or a period to them. Devoid of meaningful visual clues, even when a sparse piece of furniture or decoration is included, we are thrown back on regarding the walls as intersecting colour planes. For me this reinforces the notion that these rooms are psychological rather than physical spaces. Without a connection with time or reality they become somewhere to mentally retreat to, and be alone for reflection and contemplation.

©blackdog 2020

Marlene Dumas

Gelijkenis 1 & 2, 2002
Oil on Canvas, Each 60 x 230 cm
Punta della Dogana, Venice 2009

This diptych by Dumas is based on the famous Hans Holbein the Younger painting “The Body of the Dead Christ in the Tomb”, both of which are now owned by François Pinault and were on display in his new contemporary art space in Venice. They were originally exhibited one above the other, but for some reason his curator has split them onto separate walls. I felt this diminished the concept and made any concept behind the work hard to grasp. Of the two it is the second canvas that is the closest to the Holbein which is in the Basel Kunstmuseum (not seen), and whilst it is only a facsimile or simulacrum, the copy draws a power and melancholic aura from the original.

The painting represents a corpse stretched out on a slab with the loins covered with a white cloth. The painting is life sized and we view the painted emaciated corpse from the side with the right arm in full view with the hand protruding slightly from the slab. The chest shows a blackened wound from the soldier’s spear and the hand the stigmata from the crucifixion. The expression frozen on the face is one of hopeless grief, a man deserted by God without any promise of redemption.

Unusually for a painting for a painting from the 16thC, Holbein leaves the figure alone without the usual coterie of figures immersed in grief but also in the certainty of the resurrection. It is this isolation that endows the painting with its major melancholic burden more so than the limited palette of greys, browns and greens. Perhaps Holbein, himself a humanist on the threshold of atheism, is expressing his religious doubt. There is nothing more dismal than a dead God, and by painting a faithful representation of the dead body of a man taken from a cross with the head thrown back in suffering (rather than with the customary traces of beauty combined with the agony on the cross), Holbein confronts us with that possibility.

So what is Dumas trying to achieve with her copies? As she says “you can’t ‘take’ a painting, you make a painting, [1] and consequently for her it must be a decisive moral act. Perhaps the clue is that the first canvas is also partially based on a tabloid image of Michael Jackson sleeping in his oxygen chamber (in an effort to stave off his own mortality). Clearly the paintings have to be read as a pair and perhaps she is emphasising that we are a culture without the will to seriously examine our own problems. We prefer to be provoked and titillated rather examine our real problems, eschewing issues that are complex contradictory or confusing.

©blackdog 2009

[1] Dumas, Marlene “The Private Versus the Public” Marlene Dumas: Miss Interpreted Van Abbesmuseum 1992. 43