David Zehnder (°1978) makes photos and media art. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, his photos references post-colonial theory as well as the avant-garde or the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His photos demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By using an ever-growing archive of found documents to create autonomous artworks, he tries to approach a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is sometimes physical and believes in the idea of function following form in a work.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By demonstrating the omnipresent lingering of a ‘corporate world’, he makes works that can be seen as self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works directly respond to the surrounding environment and uses everyday experiences from the artist as a starting point. Often these are framed instances that would go unnoticed in their original context. With a conceptual approach, he reflects on the closely related subjects of archive and memory. This often results in an examination of both the human need for ‘conclusive’ stories and the question whether anecdotes ‘fictionalise’ history.
His works are an investigation of concepts such as authenticity and objectivity by using an encyclopaedic approach and quasi-scientific precision and by referencing documentaries, ‘fact-fiction’ and popular scientific equivalents. David Zehnder currently lives and works in Bern|Berlin.
Acevedo Hülsbusch Juana Joceline
Bidari Basavaraj Shrishail Bidari
Bonton Bonton Bontongone Nelly
Brittish(jesreal Confidence Shedrack) Jesreal
Dark'ness Dementia Raven Tara Way Ebony
De Torres Y Sandoval Ramón Argila
González Rojas Adriana Marcela
Hernández Hernández Alejandro José
Himmelsbach De Vries Domenique
International Resource Center For Art Cairo
Junior Dope Lord Illuminati Lives
Manuj Protim Saikia Manuj Protim Saikia
Patagonia Jakarta Moonflower Nine Eleven Superscript One Cecelia
Patil (inspirational Speaker) Rakxit
Patricia Smyka Fathermoonandme
Payanene Velasquez Junior Haminton
Plasencia Magdaleno Juan Moisés
Plasencia Magdaleno Juan Moisés
Plasencia Magdaleno Juan Moisés
Plasencia Magdaleno Juan Moisés
Plasencia Magdaleno Juan Moisés
Rodríguez Briseño Gustavo Daniel
Türkiye Lgbtİ Birliği Lezbiyen, Gey, Biseksüel, Trans, İnterseks, Eşcinsel
Vanto Dumisani Vanto Dumfiasco
Vishva Naedurana Pathirannehelage
His Works Are Saturated With Obviousness, Mental Inertia, Clichés And Bad Jokes. They Question The Coerciveness That Is Derived From The More Profound Meaning And The Superficial Aesthetic Appearance Of An Image. By Parodying Mass Media By Exaggerating Certain Formal Aspects Inherent To Our Contemporary Society, He Tries To Create Works In Which The Actual Event Still Has To Take Place Or Just Has Ended: Moments Evocative Of Atmosphere And Suspense That Are Not Part Of A Narrative Thread. The Drama Unfolds Elsewhere While The Build-up Of Tension Is Frozen To Become The Memory Of An Event That Will Never Take Place.
His Works Are Given Improper Functions: Significations Are Inversed And Form And Content Merge. Shapes Are Dissociated From Their Original Meaning, By Which The System In Which They Normally Function Is Exposed. Initially Unambiguous Meanings Are Shattered And Disseminate Endlessly. Goobs Wooster Currently Lives And Works In Solvang.
## %# Rosado Mike