Muntean / Rosenblum: WHY DIE?, FLAMME
Markus Muntean wurde 1962 in Graz, Österreich, geboren, Adi Rosenblum im gleichen Jahr in Haifa, Israel. Seit 1992 arbeiten sie als Muntean/Rosenblum zusammen und begannen 2000 ihre Lehrtätigkeit an der Akademie der Bildenden Künste in Wien. Sie erhielten 1999 den Kunstpreis der Diözese Graz-Seckau. Ihre Werke waren u.a. in der Kunsthalle Budapest, im Essl-Museum, im MAK Wien, Tate Britain London sowie im De Appel Museum Amsterdam zu sehen. Im KULTUM wurde Muntean/Rosenblum in den Ausstellungen „Muntean/Rosenblum: Jugendkultur und eine Metaphorik des Lebens“ (2000), „RELIQTE“ (2010), „IRREALIGIOUS! Parallelwelt Religion in der Kunst“ (2011/12), „VULGATA. 77 Zugriffe auf die Bibel“ (2017), “Glaube Liebe Hoffnung” (2018) und “Last & Inspiration” (2018) gezeigt.
Markus Muntean was born in Graz in 1962. Adi Rosenblum was born in Haifa, Israel, in the same year. They have collaborated as Muntean/Rosenblum since 1992 and have held lectureships at the Academy of Fine Arts Vienna since 2000. They received the Art Award of the Diocese of Graz-Seckau in 1999. Their works were presented i.a. at the Mucsarnok (Kunsthalle Budapest), in the Essl Museum, MAK Vienna, Tate Britain, London, and De Appel Museum, Amsterdam. Muntean/Rosenblum’s works were shown in the KULTUM in the exhibitions “Muntean/Rosenblum: Jugendkultur und eine Metaphorik des Lebens“ (2000), “RELIQTE“ (2010) and „IRREALIGIOUS! Parallelwelt Religion in der Kunst“ (2011/12).
Muntean / Rosenblum: WHY DIE?, FLAME
In the early works of “Living Sculptures”, young people were involved in the exhibited work. Their faces are wrapped in foil; youth culture is turned into the preservation of fresh food. Muntean/Rosenblum’s art is no art that is made for young people but an artists’ statement about a—our—time, which is characterized by the delusion of youth, by advertising, and the fact that we have to function all the time but leaves aside suffering and death. However, all this happens without any moralizing tone or wagging finger. The cheeky question “WHY DIE?“, which was nothing but mockery of religious fanaticism, took center stage in the Award for Contemporary Visual Art 1999. What was told was the story of a sect that aimed at physical immortality and committed mass suicide in Arizona in 1972. In front of it, there was a big mountain that appeared like a huge inflated Playmobil toy. During the opening, three young people were sitting as a “living sculpture”—directly under the stucco ceiling of the former chapel room with the IHS monogram, expecting the end. But the series of paintings and the entire arrangement were done in such a multilayered manner the mockery returns, and seems to mock our judgment. The “delusion of immortality” is not only the delusion of sects anymore but the delusion of our “youth culture”, which revokes the reality of death.
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. 750-751.