Muntean/Rosenblum’s work mostly depicts groups of apparently lethargic or melancholic young people in idle situations, which are either ordinary and everyday or mysterious and ambiguous. The often dreamy scenes take place in rooms, public spaces or landscapes as if part of a film, presenting unresolved situations in the making. The characters seem to adopt postures copied from fashion magazines, or from paintings originating from the renaissance to the nineteenth century. Their work is often accompanied by captions or texts not directly relating to the depicted scene, thereby adding another layer of complexity.
Galerie Ron Mandos will show, among others, a selection of their newest series, with which the artists introduce paintings inspired by videos gone viral on YouTube. They explore the profound meaning of the online platform to today’s visual culture, as a space of contemporary iconography. In general, young people are omnipresent in Muntean/Rosenblum’s work, resulting from the artists’ desire to faithfully capture their constant and overwhelming appearance in mass media and social media. These are key areas in their ongoing theoretical and aesthetic reflection.
With their work Muntean/Rosenblum powerfully discuss various issues in a rational and balanced manner. However, the artists couple their visual contemplations to an identification with the present that can be chaotic and painful, in order to blur the boundaries between reason and imagination.About the artist
Muntean/Rosenblum consists of Markus Muntean (AT, 1962) and Adi Rosenblum (IL, 1962). They live and work in Vienna, and have collaborated since 1992. Their work has been exhibited widely in international museums, institutions and galleries. Recent solo exhibitions were at MAC, Coruña (2018); MOCAK, Krakow (2018); Parkview Museum, Beijing (2017); Institut für zeitgenössische Kunst, Nürnberg (2014); and Tate Britain, London (2004). Group exhibitions they recently participated in were, among others, at Kunsthaus Graz (2018); Nam June Paik Art Centre, Gyeonggido (2018); The Parkview Museum, Singapore (2017); Oude Kerk, Amsterdam (2016); and MAXXI, Rome (2016). Their work is included in both private and public collections, such as MoMA, NYC; the Burger Collection; and the Rubell Family Collection.Film
'The White Exploit' was created as a special project for the international group exhibition 'Faith Love Hope' at Kunsthaus Graz, Austria (April - September 2018). The video is filmed at a local catholic seminary. Chain-smoking people completely dressed in white are watching the seminary students eating their lunch, creating a tense juxtaposition between an everyday action and a tableau of watchers highly charged with pathos. The watchers refer to 'The Guilty Remnant' of the American TV-series 'The Leftovers', which is an organisation of self-proclaimed 'Living Reminders' perceived as nihilistic and atheist.
The video's title is derived from a poem by Emily Dickinson. The soundtrack 'The Plaint' is by Henry Purcell, sung by Alfred Deller.
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