Mahlergruppe: Pazuzu
When it comes down to meteorological terms, wind is nothing more than the movement of air molecules. Looking at larger contexts, however, it becomes clear that wind is capable of altering rock formations, creating deserts and shaping the character of a landscape 鈥� all with a persistent permanence that transcends human perception of time and transformation.
In the exhibition named after the Mesopotamian wind demon Pazuzu, Mahlergruppe draws attention to a society that is often unaware of its own underlying mechanisms. The paintings, whose aesthetics evoke the dystopian-fantastic pictorial worlds of Hieronymus Bosch, generate questions addressed to a consumer society that, in the face of an invisible threat, has been shaken to its capitalist core and is forced to face unprecedented questions pertaining to the meaning of life as hedonistic-escapist entertainment culture crumbles around us.
Once our mundane world begins to come apart at the seams, individuals can no longer rely on their seamless integration into everyday frameworks. However, the origin of this invisible threat does not lie in the work of the Mesopotamian wind demon. As a positive demon with exorcistic and apotropaic qualities, Pazuzu operates as a potent antagonist to a society that has forgotten itself. In the thoroughly ironic paintings showcased here, a melancholic yet hopeful view of the present emerges.
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When it comes down to meteorological terms, wind is nothing more than the movement of air molecules. Looking at larger contexts, however, it becomes clear that wind is capable of altering rock formations, creating deserts and shaping the character of a landscape 鈥� all with a persistent permanence that transcends human perception of time and transformation.
In the exhibition named after the Mesopotamian wind demon Pazuzu, Mahlergruppe draws attention to a society that is often unaware of its own underlying mechanisms. The paintings, whose aesthetics evoke the dystopian-fantastic pictorial worlds of Hieronymus Bosch, generate questions addressed to a consumer society that, in the face of an invisible threat, has been shaken to its capitalist core and is forced to face unprecedented questions pertaining to the meaning of life as hedonistic-escapist entertainment culture crumbles around us.
Once our mundane world begins to come apart at the seams, individuals can no longer rely on their seamless integration into everyday frameworks. However, the origin of this invisible threat does not lie in the work of the Mesopotamian wind demon. As a positive demon with exorcistic and apotropaic qualities, Pazuzu operates as a potent antagonist to a society that has forgotten itself. In the thoroughly ironic paintings showcased here, a melancholic yet hopeful view of the present emerges.
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