Who’s Boss A Series of Art Works Press more  
 

Netzzeitung (Net newspaper) Voice of Germany

Hugos dunklere Seite (Hugo's dark side)
25. Feb 07:31, ergänzt 07:35
Plakativ: Tanya Urys Arbeit über Hugo Boss (simple: Tanya Ury's work on Hugo Boss)
Foto: ifa-Galerie Berlin Die Ausstellung «Stets gern für Sie beschäftigt...» zeigt Kunst zur Rolle der Industrie beim Holocaust. Sie versteht sich auch als Kommentar zur «Flick-Collection».
(Photo: ifa Gallery Berlin, the exhibition ("Always glad to be of service…") show art on the role of industry in the Holocaust. It is also a commentary on the Flick Collection.

Photo part of Tanya Ury's "Who's Boss: Art Prize Nr. 4", Photo:

ifa-Galerie, central Berlin

"…In mid December, several hundreds of spectators collected together for the event "Heil yourself! The Flick-Collection is closed" in the Berlin "Hau 1" Theatre, to listen to several hours of artistic and theoretical discourse. These were pointedly positioned against the official sanctioning of the collection, while at the same time Friedrich Christian Flick was refusing to pay into the Forced Labour fund. It was at this function that criticism of cultural production and producers of culture first gained a position that was beyond mere marginal commentary…"

"…Ury places a newspaper article about the origins of a firm together with an image from the 2002 advertising campaign of the same firm: it promotes a man's cologne, in all innocence, with the phrase "The Darker Side of Hugo".

In another work one sees how the artist sews the firm's name into the skin of the palm of her hand. On the one hand, Ury wishes to refer to the role of the tailors who were working as Forced Labour, on the other, she parodies the poster from another advertising campaign for men's pefume, in which a young man has written the words "Your Rules" onto his hand. Unfortunately

In spite of the not uninteresting attempt to analyse contemporary image campaigns, critically and historically, Ury's work, often loses itself in the simplistic…"

Parts of the article by Martin Conrads (English translation Tanya Ury)

 
back