ARTISTS
David Ostrowski
For his first solo exhibition in Paris, David Ostrowski has decided to reuse the title he chose for his first solo exhibition which took place at Raum f眉r Kunst und Musik in his hometown of Cologne, Germany, almost ten years ago.
The title Das Goldene Scheiss contains a pun on the use of the articles der and das, and means 鈥榯he golden shit鈥�. It is also the title of a small figurative painting he did in 2004 which depicted a boy with a rolling pin positioned next to a white van against an abstract background. This painting no longer exists. It was destroyed a few years ago in a devastating fire in the artist鈥檚 studio, along with all his other works from that time.
The twofold usage of the title is not only evocative of a renaissance but is also a reference to Ostrowski鈥檚 past and thereby underlines the coherence in his development.
Since then he abandoned figuration, as if he had tested its limits and started to tackle those of abstraction. Nevertheless, Ostrowski hardly gives a thought to the status of his medium. What interests him is the act of painting itself. His works constantly allude to one another, reflecting and overlapping, as though to poke fun at and elude the issue of painting in general and of his practice in particular. This contradiction reverberates in the two elements that make up the exhibition鈥檚 title: gold and shit.
Many of the paintings have the same title and form part of a series he calls F Paintings. We learn nothing more about this generic title, except that it seems to have simply been chosen because of a graphic affinity for the letter F, the artist鈥檚 favourite in the alphabet.
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For his first solo exhibition in Paris, David Ostrowski has decided to reuse the title he chose for his first solo exhibition which took place at Raum f眉r Kunst und Musik in his hometown of Cologne, Germany, almost ten years ago.
The title Das Goldene Scheiss contains a pun on the use of the articles der and das, and means 鈥榯he golden shit鈥�. It is also the title of a small figurative painting he did in 2004 which depicted a boy with a rolling pin positioned next to a white van against an abstract background. This painting no longer exists. It was destroyed a few years ago in a devastating fire in the artist鈥檚 studio, along with all his other works from that time.
The twofold usage of the title is not only evocative of a renaissance but is also a reference to Ostrowski鈥檚 past and thereby underlines the coherence in his development.
Since then he abandoned figuration, as if he had tested its limits and started to tackle those of abstraction. Nevertheless, Ostrowski hardly gives a thought to the status of his medium. What interests him is the act of painting itself. His works constantly allude to one another, reflecting and overlapping, as though to poke fun at and elude the issue of painting in general and of his practice in particular. This contradiction reverberates in the two elements that make up the exhibition鈥檚 title: gold and shit.
Many of the paintings have the same title and form part of a series he calls F Paintings. We learn nothing more about this generic title, except that it seems to have simply been chosen because of a graphic affinity for the letter F, the artist鈥檚 favourite in the alphabet.
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