The group exhibition explores the subtle manifestations of the power struggles inherent to the Cold War: surveillance, propaganda, eavesdropping, intimidation and rumor. Artists in the exhibition are Sam Durant, Oyvind Fahlstrom, Jana Gunstheimer, Roy Lichtenstein, Adam McEwen, Martha Rosler, Thomas Ruff, Julia Scher, and Jane and Louise Wilson.
This group exhibition includes emerging and established artists whose work addresses issues, images, and themes related to the Cold War and its cultural impact. Fallout explores the subtle manifestations of the power struggles inherent to the Cold War: surveillance, propaganda, eavesdropping, intimidation and rumor.
Artists in the exhibition are Sam Durant, Oyvind Fahlstrom, Jana Gunstheimer, Roy Lichtenstein, Adam McEwen, Martha Rosler, Thomas Ruff, Julia Scher, and Jane and Louise Wilson.
Fallout will include a new Sam Durant piece based on an 8-by-15-foot American flag. As with his recent work on monuments, Durant aims to subvert the meaning of the patriotic symbol. The work of Oyvind Fahlstrom frequently commented on the anti-War movement and commercialism in a variety of offbeat ways. German-born Jana Gunstheimer's intricate watercolors depict the sinister inner workings of a fictionalized corporation where employees are constantly monitored. Roy Lichtenstein made paintings of an atom bomb filtered through the Pop master's signature Ben-day dot style, portraying the dark side of the Cold War era. The show will include a new conceptual work by British artist Adam McEwen, whose work changes the power of propaganda by mixing it with a pop sensibility. Martha Rosler will contribute a work on one of the most notorious events of the Cold War era: the case of Julius and Ethel Rosenberg. Thomas Ruff's photographic manipulations bridge appropriation and reportage and challenge the viewer to distrust the source. For the large scale photograph Nacht, the artist used night-vision technology to produce ominous, militaristic images of contemporary Dusseldorf at night. Julia Scher, whose work explores monitoring and security in cyberspace, will contribute a work about surveillance. For Jane and Louise Wilson's 2000 project, Star City, the sisters were granted unprecedented access to a high-security Russian cosmonaut training facility located just north of Moscow. Built during the 1950s, Star City was seen as the futuristic emblem of Russia's race-to-space and the promise of Communism at the height of the Cold War.
Image: Jane & Louise Wilson, Star city (Cosmonaut Suits, Mir) 2000. C-print mounted on aluminium
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