MARZIA FROZEN
Presents




 FUCKING  KUNST
  curated  by   Javier  RAMIREX


         Opening  Reception:  SATURDAY   May  1st   6 - 12 pm


        May  1st     -   May 31,   2010
  



Daniele  AFFERNI - Katrin  ALVAREZ - Valentina AZZINI -  Alberto  BACCARI - Gabriele  BONATO - Dr.  Lusine  BREITSCHEIDEL - Antonio  CHIERICI - Lan HUNGH - Valeria  FINAZZI - Gilberto  GIARDINI - Kerry GRøNENG - Sarah Love PARK - Javier  RAMIREX - Banafsheh  RAHMANI - Lisbeth  Dal  POZZO -  Astrid  STöFHAS - Michele - PRINCIPATO  - Mario  TONINO - Angela  VINCI - Herma  Auguste  WITTSTOCK




                                                      

               
   Galerie  FRIEDRICHSHöHE
   Landsberger  Allee  54
   10249  Berlin,  GERMANY
   Tel: +49 (0) 176 686 38384
   www.marziafrozen.com



Marzia Frozen is pleased to announce an  international  group exhibition of a new generation of artists working today. This will be a group exhibition at Galerie  FRIEDRICHSÖHE in Berlin, and will feature a selection of  paintings, sculptures, photographs,  performances and videos.

Censorship still exists today , have passed 500 years since Michelangelo Buonarroti, was  banned  when he  painted the Sistine Chapel.The Last Judgment was an object of a bitter dispute between  Cardinal  Carafa and Michelangelo. Because he depicted naked figures, the artist was accused of immorality and obscenity. A  censorship  campaign (known as the "Fig-Leaf Campaign") was organized by Carafa and Monsignor Sernini ( Mantua's  ambassador) to remove the frescoes. When the Pope's own Master of Ceremonies Biagio da Cesena said "it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully, and that it was no work for a papal chapel but rather for the public baths and taverns,"Michelangelo worked da Cesena's semblance into the scene as Minos, judge of the underworld. It is said that when he complained to the Pope, the pontiff responded that his jurisdiction did not extend to hell, so the portrait would have to remain.
The  genitalia  in the fresco were later covered by the artist Daniele  da  Volterra, whom history remembers by the derogatory nickname "Il Braghettone" ("the breeches-painter").

Francisco  de  Goya  suffered  censorship  when  he  painted  La  Maja Desnuda (known in English as The Naked Maja)  is an oil  on  canvas  painting, portraying a nude woman reclining on a bed of pillows. It was executed some time between 1797 and 1800, and is sometimes said to be the first clear depiction of female  pubic  hair  in a large Western painting.

Goya created another painting of the same woman identically posed, but clothed, entitled La  Maja Vestida (The Clothed Maja); also in the Prado, it is usually hung next to La maja desnuda. The identity of the model and why the paintings were created are still unknown. Both paintings were first recorded as belonging to the collection of Prime Minister Manuel de  Godoy, Duke of Alcudia, and it has been conjectured that the woman depicted was his young mistress. It has also been suggested that the woman was Maria  del  Pilar Teresa Cayetana de  Silva y  Alvarez de  Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved and did complete known portraits of. However, many scholars have rejected this possibility, including Australian art critic Robert Hughes  in his 2003 biography, Goya. Many agree that Pepita Tudò is a more likely candidate. Others believe the woman depicted is actually a composite of several different models.
In 1815, the  Spanish  Inquisition  summoned Goya to reveal who commissioned him to create the "obscene" La maja desnuda, and he was consequently stripped of his position as the Spanish court painter. If Goya gave an explanation of the painting's origin to the Inquisition, that account has never surfaced. Two sets of stamps depicting La maja desnuda in commemoration of Goya's work were privately produced in 1930, and later approved by the Spanish Postal Authority. That same year, the United States government barred and returned any mail bearing the stamps.

In  1907  Paris-based Spanish  artist Pablo Picasso  painted  Les Demoiselles d'Avignon,  to  an unsuspecting  public.   The  shock  waves  sent  out  by  this  work  without  doubt  easier  to  appreciate  than  the   aesthetic  challenge posed  by  the Impressionists  some   decades  earlier. Picasso  replaced the  unthreatening  female  nude  with  what  appeared  to  be  a  group portrait  of  prostitutes,  and he   did  so  in a style  that  did  not  echo  his  Western ancestors,  but  that   drew  upon  non  European  art  view  by  his  contemporaries  as  "primitive".

In 1915, the anarchic members of the Dada movement began to wreak havoc in Switzerland. Their impact spread through Europe, eventually taking root in Germany. Two of Dada's best known German proponents are Otto Dix (1891-1969) and George Grosz (1893-1959), whose work developed into the genre known as Neue Sachlichkeit, and whose challenging brand of social and political satire is exemplified by Dix's Erinnerung an die Spiegelsale von Brussel (1920). Such works led the National Socialists to brand their art, along with that of many of their contemporaries, as degenerate.

Dadaism made its way to New York, where a key figure was the French-American artist Marcel Duchamp (1887-1968). In 1917 he created what is perhaps his best known work,Fountain, a urinal signed with one of the pseudonyms under which he worked, R. Mutt. With this work, which was excluded from the first exhibition of the New York Society of Independent Artists, Duchamp simultaneously created the first ready-made and ignited the "but is it art?" debate that continues to rage to this day.
Surrealism was born from Dada and launched in 1924 with the publication of Manifeste du Surralisme by Andr Breton (1896-1966); activity was initially centred on Paris in the 1920's and 1930's. Surrealism's most famous legacy is the precisely rendered, detailed fantasies of the Spaniard Salvador Dal (1904-89). Paintings such as Hallucination Partielle: Six Images de Lenine sur un Piano (1931), sought not only to challenge the viewer's taste, but also to disturb.

Piss Christ is a 1987  photograph  by photograper Andres Serrano. It depicts a small plastic crucifix  submerged in a glass of the artist's urine. The piece was a winner of the Southeastern  Center for  Contemporary  Art's "Awards in the Visual Arts" competition, which is sponsored in part by the  National  Endowment for the Arts, a  United State  Government    agency that offers support and funding for artistic projects.
The piece caused a scandal when it was exhibited in 1989, with detractors, including  United  State  Senators  Al  D'Amato  and Jesse Helms, outraged that Serrano received $15,000 for the work, part of it from the taxpayer-funded  National  Endowment for the Arts. Supporters argued the Piss Christ is an issue of  artistic  freedom  and  freedomof  speech. Others alleged that the government funding of Piss Christ violated  separation  of  church and  state.
Sister Wendy Beckett , an art critic and Catholic nun  stated in a television interview with  Bill Moyers  that she regarded the work as not blasphemous but a statement on "what we have done to Christ" - that is, the way contemporary  society  has come to regard  Christ  and the values he represents.
During a retrospective of Serrano's work at the  National  Gallery of Victoria  in 1997, the then  Catholic  Archbishop  of  Melbourne, George  Pell, sought an injunction from the  Supreme Court  of  Victoria  to restrain the National Gallery of Victoria from publicly displaying Piss Christ, which was not granted. Some days later, one patron attempted to remove the work from the gallery wall, and two teenagers later attacked it with a hammer. The director of the NGV cancelled the show, allegedly out of concern for a Rembrandt  exhibition that was also on display at the time.
Piss Christ was included in "Down by Law," a "show within a show" on identity politics and disobedience that formed part of the 2006  Whitney Biennal.  The  BBC documentary Damned in the USA explored the controversy surrounding Piss Christ.

In June 1989,artist Lowell Blair  Nesbitt  became involved with a scandal involving Mapplethorpe's work. The Corcoran Gallery  of  Art in Washington D.C. had agreed to host a traveling solo exhibit of Mapplethorpe's works, without making a stipulation as to what type of subject matter would be used. Mapplethorpe decided to show a new series that he had explored shortly before his death, Robert Mapplethorpe: The Perfect Moment curated by Janet Kardon of the Institute of Contemporary Art. The hierarchy of the Corcoran and several members of Congress were horrified when the works were revealed to them, and the museum refused to go forth with the exhibit. It was at this time that Nesbitt, a long-time friend of Mapplethorpe, revealed that he had a $1.5 million bequest to the museum in his will. Nesbitt publicly promised that if the museum refused to host the exhibition he would revoke his bequest. The Corcoran refused and Nesbitt bequeathed the money to the Phillips Collection instead.
After the Corcoran refused the Mapplethorpe exhibition, the underwriters of the exhibition went to the nonprofit Whashington  Project for the Arts which showed the controversial images in its own space from July 21 - August 13, 1989, to large crowds.

In  1999 the exhibition  SENSATION  was shown in New York City at the Brooklyn Museum of Art  from 2 October 1999 to 9 January 2000. The New York show was met with instant protest, centering on The Holy Virgin Mary by Chris Ofili, which had not provoked this reaction in London. While the press reported that the piece was smeared with elephant dung, Ofili's work in fact showed a carefully rendered black Madonna decorated with a resin-covered lump of elephant dung. The figure is also surrounded by small collaged images of female genitalia from pornographic magazines; these seemed from a distance to be the traditional   cherubim.
It  was  Chris Ofili  who  found  himself  at  the  center  of  the  storm  in New  York.  Ofili  had  already  experienced  controversy  when  he  too  won  the  Turner Prize  in  1998.  His  intricately  patterned  mixed-media  works  draw  on  his  Nigerian  heritage  and   are  characterized  by  their  inclusion of  elephant  dung. The  focus  of  the  outrage  was  The  Holy  Virgin  Mary (1996):  a  mixed  media  painting/collage  depicting a  black  madonna,  surrounded  by images  of  buttocks,  with  the  addition of  the  ubiquitous  dung. Ofili  stayed  well  out  of  the  affray  as  his  work  was  branded  blasphemous.

New York Mayor Rudolph Giuliani, who had seen the work in the catalogue but not in the show, called it "sick stuff" and threatened to withdraw the annual $7 million City Hall grant from the  Brooklyn  Museum  hosting the show, because "You don't have a right to government subsidy for desecrating somebody else's religion." Cardinal John O'Connor, the Archbishop of New York, said, "one must ask if it is an attack on religion itself," and the president of America's biggest group of Orthodox Jews, Mandell Ganchrow, called it "deeply offensive". William A. Donohue, President of the Catholic  League  for Religious  and Civil Rights,  said the work "induces revulsion". Giuliani started a lawsuit to evict the museum, and Arnold Lehman, the museum director, filed a federal lawsuit against Giuliani for a breach of the First  Amendment.
Hillary Clinton spoke up for the museum, as did the New York Civil Liberties Union. The editorial board of The New York Times said, Giuliani's stance "promises to begin a new Ice Age in New York's cultural affairs."The paper also carried a full-page advertisement in support signed by over 100 actors, writers and artists, including Susan Sarandon, Steve Martin, Norman  Mailer, Arthur Miller, Kurt  Vonnegut and Susan Sontag. Ofili, who is Roman Catholic, said, "elephant dung in itself is quite a beautiful object.


FUCKING  KUNST  is  an  exhibition of  contemporary  art that  encourage  artists  to  express  without  any  censorship  and is  against  of any  repression  of  freedom of Expression.

                                                   
 



Angela  VINCI
Game Woman,  2010
Mixed Media on  canvas
100 x  100 cm








Gilberto  GIARDINI
Pedro's  Daydream, 2009
Acrylic  on canvas
100  x  70  cm.









Valeria  FINAZZI
The  Mirror,  2010
Oil  on  canvas
90  x  60  cm.







Astrid  STöFHAS
Robbery,  2009
Mixed  media   on  canvas
100  x  100  cm.







Mario  TONINO
Il  sogno  rosso  di  un piccolo  gobbo,  2010
Mixed  Media
50 x  35 cm.








Lisbeth  Dal  POZZO
Iris,  2004
Watercolor and  pencil  on  paper
53 x  44 cm.






Lan  HUNGH
Cat walk, 2010
Performance








Daniele  AFFERNI
Inarrestabile, 2009
Oil    on  Canvas
80 x60 cm.






Valentina  AZZINI
Amante, 2009
Mixed Media  on  wood
100  x  100 cm.








Banafsheh  RAHMANI
I  Senza  Terra,  2009
Acrylic  on  canvas
70 x 50 cm.









Antonio  CHIERICI
Gli ormeggiatori del porto  di  Livorno,  2008
Acrylic  on  canvas
100 x 70 cm.




Javier  RAMIREX
Alien & Woman, 2010
Acrylic, Spray paint  on  canvas.
140  x  120  cm.








Herma  Auguste  WITTSTOCK
Performance, 2009
Centro  de las Artes de  Sevilla










Katrin  ALVAREZ
The  Bride, 2009
Oil  on  Canvas
50  x  40  cm