LOG IN

REGISTER

* Indicates a required field
*
*
*
*
*
Requesting additional rights. To obtain additional rights in the Digital Collection, please fill in the Project Information field above.
Submit

FORGOT YOUR PASSWORD?

* Indicates a required field
*
Submit
Collection highlights
The series of fictitious painted gypsum portraits was shown in the exhibition Lollipop Fiction (1996) with Esta Frosch and Tõnis Aaliste in the Obu Gallery, Tartu. Undoubtedly the strongest trump for this generation of artists that came into the field during the second wave of Estonian Neo Pop Art, is the fact that the references in their work did not stem from Pop Art but from every day popular culture: parties, brands, clothing, poses, and consumer habits. Therefore they addressed the audience in a totally different way and also had subcultures involved. House music albums, DJ's, three stripes of Adidas and some stripes of Speed, synthetic taste and The Face magazine are the background Kiwa used to create his samples. These works are memorabilia that were created as by-products of his life-style, consisted of a series of portraits, realized with expressive carelessness, of people the viewer thought s/he could recognise in the crowd at an opening party. All characters are “labelled" with their own stereotypical story so that they become everyone and again no-one. The text under one of the “portraits" reads: “Eerik likes to go to dance parties, but in real life, everything does not run as smoothly as in song lyrics. This is where it becomes intriguing..." These works do not seem to refer to “Elvis is the King of Pop" but some loser from the side-street. The King of Pop is a consumer: there is no fascination. Hanno Soans

Kiwa
Debra Thirty Years After. From the Series The Kings of Pop

 
Artist: Kiwa (1975 - )
Title: Debra Thirty Years After. From the Series The Kings of Pop
Date: 1996
Technique:
Material:

plaster
Height (cm): 44.0
Width (cm): 24.0
Depth (cm): 22.0
Description: The series of fictitious painted gypsum portraits was shown in the exhibition Lollipop Fiction (1996) with Esta Frosch and Tõnis Aaliste in the Obu Gallery, Tartu. Undoubtedly the strongest trump for this generation of artists that came into the field during the second wave of Estonian Neo Pop Art, is the fact that the references in their work did not stem from Pop Art but from every day popular culture: parties, brands, clothing, poses, and consumer habits. Therefore they addressed the audience in a totally different way and also had subcultures involved. House music albums, DJ's, three stripes of Adidas and some stripes of Speed, synthetic taste and The Face magazine are the background Kiwa used to create his samples. These works are memorabilia that were created as by-products of his life-style, consisted of a series of portraits, realized with expressive carelessness, of people the viewer thought s/he could recognise in the crowd at an opening party. All characters are “labelled" with their own stereotypical story so that they become everyone and again no-one. The text under one of the “portraits" reads: “Eerik likes to go to dance parties, but in real life, everything does not run as smoothly as in song lyrics. This is where it becomes intriguing..." These works do not seem to refer to “Elvis is the King of Pop" but some loser from the side-street. The King of Pop is a consumer: there is no fascination.
Hanno Soans
Related categories: Contemporary Art
Copyright notice: Art Museum of Estonia
AME collection: Sculpture collection
Collection number: S 1719
Accretion number: EKM j 47607
File info: Source type: digital photography
File type: TIF
File size: 46.27MB
Resolution: 3351*4823px @ 300dpi
 
Search Press Photos Exhibition Views Reproduction Fees Online Shop Photo Collection