Vanessa Beecroft: VBSS.009.MP, 2006
geboren 1969 in Genua, Italien, lebt und arbeitet in New York. Sie studierte an der Accademia Ligustica di Belle Arti in Genua Malerei und Bühnengestaltung an der Accademia di Belle Arti di Brera in Mailand. Charakteristisch für Beecroft sind ihre Performances, inszenierte Ensembles von weiblichen, seltener auch männlichen professionellen Models, die sich nach genau festgeschriebenen Choreografien bewegen und verhalten. Die Künstlerin selbst agiert dabei ausschließlich als Regisseurin. Seit Mitte der 1990er schafft Beecroft auch Malereien und Grafiken. Ihre erste Ausstellung (VB01) fand 1993 in Mailand statt, ein Jahr später wurde Beecrofts Werk in New York gezeigt. Präsentationen u.a. bei der 47. Biennale von Venedig, im Guggenheim Museum New York, Museum Ludwig Köln, Moderna Museet Stockholm, National Gallery London, Neue Nationalgalerie Berlin oder MAXXI Museum Rom folgten. Im KULTUM wurde Beecroft in der Ausstellung „mutter. Neue Bilder in zeitgenössischer Kunst“ (2010) gezeigt.
born in Genoa, Italy, in 1969; lives and works in New York, USA. She studied Painting at the Accademia Ligustica Di Belle Arti, Genoa, Italy, and Stage Design at the Accademia Di Belle Arti Di Brera, Milan, Italy. What is typical for Beecroft are her performances, stage ensembles of female, more rarely also male professional models who move and act according to precisely determined choreographies. Thereby, the artist herself acts exclusively as a director. Beecraft has also created paintings and graphic works since the mid-1990s. Her first exhibition (VB01) took place in Milan, Italy, in 1993. One year later, Beecroft’s works were shown in New York. Presentations i.a.at the 47th Venice Biennale, at the Guggenheim Museum, New York; Museum Ludwig, Cologne; the Moderna Museet, Stock-holm; the National Gallery,London; the Neue Nationalgalerie, Berlin; or the MAXXI Museum, Rome, followed. Beecroft’s works were shown in the KULTUM in the exhibition “mutter. Neue Bilder in zeitgenössischer Kunst“ (2010).
Vanessa Beecroft: VBSS.009.MP, 2006
One would not expect Christian iconography from Vanessa Beecroft. The large-format pictures by the Italian-American artist derive from a series which was created in the course of the Darfur conflict in Muslimdominated Sudan and against the backdrop of the unbelievable suffering in this country. This conflict, which has been smoldering to this day has already cost the lives of 400,000 people and has turned 2.5 million people into refugees. In the face of these figures the depiction of suffering threatens to become very abstract.
With the picture of the white Madonna with the black twins Beecroft, who is above all known for her performances featuring most of the time nude or barely clothed bodies (of women) who apparently coincidentally mingle with the crowd of visitors, staged herself for the first time (and so far the only time). The picture is perfectly composed: a white dress, the inclined head of the artist, the two children she offers her breast. The contrast between the white woman and the black babies seeking help in her arms highlights the gap between the rich Western world and the often outrageous poverty in many parts of Africa. It raises critical questions pertaining the ambivalent nature of Western help in Africa, and “the adoption of children from the Third World, which has become popular, and post-colonialist interventions between liberation and exploitation” (Roman Grabner). With regard to the history of the image, Beecroft not only alludes to the Madonna but also to the subject of Caritas (charity). The lower hem of the white woman is singed—another sign of conflict, not so much between cultures but above all between wealth and poverty. Moreover, the picture raises the question of the cradle and—in the face of fertility rates—the future of humankind.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 402-403