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Norbert Bisky's (*1970 in Leipzig) artistic cosmos is as colorful as it is cruel. Many of his figurative paintings cover densely packed body parts - heads, torsos, arms - caught in tidal waves and wedged into one another. Orange skin tones, bright pinks, greens, yellows, and purples against brilliant blues or somber black-browns dominate the palette, an intense colorfulness often at odds with the subject matter of the paintings: Naked male bodies are torn apart, beautiful faces shredded. Bisky's powerful paintings generate ambivalent feelings; in them, he explores the boundaries of representation. This publication offers the first overdue art historical examination of Bisky's work. Hubertus Gaßner, Dorothée Brill, Kathleen Bühler, and Jeanette Zwingenberger explore the questions raised by this vehement painting: Why does he use such a violent treatment of the body and its image, why this dissection of figuration and fixed structures? How do we define Bisky's work?