Professional Documents
Culture Documents
22
Odd Nerdrum
Running Bride
oil on canvas, 56x48 cm.
World Wide Kitsch
On art:
since talented painters have been replaced with bureaucrats,
sincere painting is ostracized.
4
Palazzo Cini in San Vio, Venice
September 17 - October 15 2010
Initiative
www.worldwidekitsch.com
Sponsored by
CITY OF VENICE?
Province of venice?
VENETO REGION?
Acknowledgements
We would like to thank David Dalla Venezia, for his decisive and
indefatigable driving force, Frode Borge, Bjørn Li (The Nerdrum Institute),
Giuliana Mazzola (Entroterra, Brescia), Toni Dalla Venezia and
Alessandro P. and The Great Nude Invitational.
Special thanks to Shane Young, for his generous and indispensable help
in the design of all KB 2010 material.
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The kitsch painter sees the fly... and takes pleasure in it.
1
WHY “KITSCH”?
The painters invited to exhibit at The Kitsch Biennale 2010 in Venice have been chosen from their
ability to create life on canvas – an idea deeply rooted in European Humanism that presupposes insight
into anatomy and human psychology, a mind for pathos and a sense for the archetypical narrative.
Yet, these values are rootless in contemporary art, which generally disregards skill and aims to reflect
the time. They were not included in the modern concept of art (originally “fine art”), which was born
about 250 years ago. Rejecting handcraft and sincerity, art represents a break with the values of the
Renaissance and Baroque and not a continuation of them.
Because of this situation an alternative to art is needed, and The Kitsch Biennale seeks to present it.
But why use the word “kitsch”?
The term is about 150 years old, and has commonly been used in a negative and disparaging sense.
It denotes sentimentality and pathos in music, sculpture and painting.
From the 20th century on, ”kitsch” started to be used more theoretically and afterwards as the negative
opposite of art. Painters who still wanted to make paint look like living skin, were considered
old-fashioned and labelled with this term. According to Hermann Broch: «In art the evil is represented
by kitsch». Thus, kitsch is not even ”bad art”, but forms a system of its own.
In 1996, however, Odd Nerdrum discovered the positive potential in the term. He started to claim
“kitsch” as a positive superstructure for figurative, non-ironic and narrative painting to which the
concept of “kitsch” fits better than “art”.
Consequently to this redefinition of “kitsch”, a growing number of figurative painters are now calling
themselves “kitsch painters”.
With this exhibition and catalogue, we welcome you into a living discipline.
by Odd Nerdrum
TIMELESS QUALITIES.
KITSCH IS NOT ART. KITSCH REFERS TO THE SENSUAL AND THE TIMELESS.
DEPTH IS THE GOAL, FOR IN THE DEPICTION OF NATURE ITSELF LIES THE
INDIVIDUAL EXPRESSION.
Odd Nerdrum
Bride in Void
5
By Odd Nerdrum
Speech given at a press conference before the opening of the exhibition “Odd Nerdrum – Paintings 1978-
1998” at The Astrup Fearnley Museum of Modern Art in Oslo, Norway, September 24th, 1998. With these
words Nerdrum took a definite leave with art and defined himself as a kitsch painter asking to be evaluated
according to the standards of kitsch.
The understanding of who you are and what you are really doing does not always come
easily. Most people need time in order to mature and acquire full insight into these
complicated matters. This is often related to the fact that certain things are difficult to admit
to oneself and are perhaps even more difficult to admit to others. In my case it might have
taken longer than usual. But now, at an occasion such as this, I believe the time has come.
For me, as for most others, the question of your true identity is linked to experiences and
conflicts in childhood. I was captured by painting at an early age and painted Poliakoff-like
abstractions until the age of nine. A reason for this was probably my stepfather. He was a
cultivated man who collected modern art. Often he took me on skiing trips. Because he was
a rationalist and fond of exercising he wished for the trips to be quite lengthy. Once, when we
were at a great height on a mountain, we stopped to look at the scenery. The valley before us
was bathing in the light of a magnificent sunset. For that moment we spent gazing we were
enthralled. Then he said to me: “It is beautiful, but remember to never paint anything like
this if you become a painter because you will not be accepted at the Autumn Exhibition1”.
My mother is also a cultivated person. In her opinion, to be religious is to go uneducated.
I remember one time we stopped in front of a shop window in Oslo to look at a painting of
a Gypsy girl by Roka2. It was painted in the manner of Sargent and cost 2,000 Norwegian
kroner. My mother and I were impressed and admired the picture even though I thought
it to be too expensive. However, it was one of my first crucial experiences with painting.
I immediately felt at home in this painter’s direct expression of his experience of the body.
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Many years later, during the end of the 70’s, Norwegian television asked me to choose
some paintings and compare them to each other. I chose a nude in the collection of the Na-
tional Gallery by the modernist painter Jean Heiberg (my grand mother’s cousin) and placed
one of Roka’s gypsy girls next to it. To me, the difference was striking: Roka’s painting was
more alive – it had more skin.
Even though it was painting that captured my interests earliest, I soon came into contact
with something else that grabbed my attention. By the age of 20 my eyes were caught by
the red light of the sunset, but I could still hear my stepfather’s warning: ‘Remember the
moderns. Things go well for them. If you go on like this you will do badly.” As I forced my
way into the art world during the late 60’s I still heard the echo of his words bouncing around
in my head. The reactions to my work were ferocious. The harassment that I endured had
deeper roots than the opposition Edvard Munch faced during his early career, which, inci-
dentally, soon turned into boisterous appreciation as soon as he became a modernist. During
that time in the late 60’s I understood that something was wrong, but as to what it was exactly
was beyond my comprehension, so in order to cope I tried to act the part of an artist to the
best of my ability, and for many years I actually believed I was in fact an artist.
The first time I got an idea of what might be wrong was in the late 70’s. I had been al-
lowed to hang two of my larger paintings – The Arrest and The Murder of Andreas Baader
– in the new dormitory at the University of Oslo. Though this was a time when artists were
paid to exhibit I must confess that I had to bribe the University board with free prints in
order to enjoy the same privilege. I obviously did not want to do that sort of thing, however,
I felt it served it’s purpose as long as I could fulfill my dream of displaying my large compo-
sitions to the public. They were beautifully hung in a staircase, which almost looked like a
Caravaggio chapel, but it did it did not take long before someone voiced their disdain for the
show. Soon, a committee at the Academy of Art decided that the paintings in that particular
staircase had to come down. They surprised me with a letter saying that all “decorations”
had to be removed within a fortnight. Afterward I ran into one of the members of the
academy’s committee, the acknowledged artist Arvid Pettersen. I looked at him straight in
the eyes and asked: “How could you do this to a colleague”? He just stared back and could
not answer. Then I got the feeling that he understood something that I had failed to grasp:
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I was not a real artist. For some time people had written that I was an anti-artist and other
such things, but still it was impossible for me to comprehend that I was not a real artist.
It was only later that I came to think differently. Later, I finally discovered what Pettersen had
known immediately.
Integral to my eventual realization was the story of the great Cézanne breakthrough at the
beginning of the century3 – how art became the metaphysical applause for the new sciences
and how it got its meaning and substance by existing as the expression of a certain truth.
It could be the truth about man as a social being, as a rational or irrational being, or the
truth about the agonized or ironic relationship between the artist and reality. From the time
of Cézanne onward, art would receive its justification for existence by its rebellion against
tradition, history and power in all its forms. Subsequently it became a characteristic trait
for the new art to seek innovation instead of tradition and to legitimize itself by something
outside the work of art.
Today, at the end of the century3, we see the paradoxical result: Modernism itself has
become a tradition that has conquered the entire Western world. Institutions, critics, artists
and educated people are obliged to be “open for the new”. What is important in this context
is not Modernism’s all-embracing legitimization of the existing order. My concern is what
Modernism has pushed out as its “other”. In the same way that Christianity demonized
its competitors, so too did Modernism, and the ruler of Modernism’s Hell was christened
“Kitsch” – signifying the antithesis of Modern art. Kitsch became the unified concept for all
that was not intellectual and new, all that was conceived as brown, old-fashioned, sentimental,
melodramatic and pathetic. As the Austrian author and philosopher Herman Broch put it in
the 1930’s: “Kitsch is the Anti-Christ, stagnation and death.”
We all know the Gypsy girl and the little boy with a tear, the Grandmother with a child on
her lap and the fisherman with his pipe, the two silhouettes against a sunset, and not the least,
the moose by the lake. All of this became a forbidden area for the tastes of the educated. The
so-called “simple” and “blind” taste for this imagery stood in contrast to Marx, Freud and the
entire Modern elite who were looking into everything down to its smallest particle. But the
Devil is not just stupid and Kitsch is not just low. There are also higher forms of Kitsch, or to
use Broch’s words again: “There are geniuses within Kitsch like Wagner and Tchaikovsky”.
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The process of exclusion that began to occur at the breakthrough of Modernism – this terri-
ble moment – brought immediate consequences. The composer Puccini was declared Kitsch,
as was Zorn, the Swedish painter of luscious female nudes. Zorn suffered from allegations
that he was Kitsch and was confused about it for the rest of his life. These were unfortunate
cases but most other artist acclimated quickly. Edvard Munch became a Modernist, as did
the Finn, Gallen-Kallela. Even Ilya Repin in Russia began to paint sloppily in order to satisfy
the new truth. Sibelius, the great Finnish composer, was also accused of being Kitsch. In the
6th and 7th symphonies he started to fumble for the new disharmonies but then gave up and
remained in silence for another 40 years. Now that the epoch of Modern art faces its 100
year anniversary we can look back at what it strove to demonize and what it wanted to get rid of.
Kitsch is about the eternal human questions; the pathetic, whatever be its form, about
what we call “the human”. The task of Kitsch is to create a seriousness in life – at its best,
to be so sublime that it brings laughter to silence. In contrast to art’s irony and dispassion,
Kitsch serves life and seeks the individual. Some people have tried to tie Kitsch to the advent
of political propaganda, but Kitsch has nothing to do with Stalin or Hitler. Those two built
a propaganda machine for the masses, in which all of the arts should serve their politics. For
this type of a machine to work the propaganda had to reach the masses of people in a bla-
tantly clear language, like the language in commercials. But an opera like Puccini’s Madame
Butterfly only appeals to an individual’s vulnerability and not her rationality.
Kitsch is passion’s form of expression at all levels and it is not the servant of truth. On
the contrary, it keeps relative to religion and truth. A well-painted Madonna transcends its
holiness, and Kitsch leaves truth to art. In Kitsch, skill is a decisive criterion of quality. The
work of the hand is self-revealing in the light of long-established norms. In this way, Kitsch
goes without protection because the standards by which it is judged are the best works that
have been created throughout all of history. For Picasso and Warhol it was different – they
were protected by contemporary values and still are. You do not compare Warhol with
Rembrandt unless ironically. Art is protected against the past because it is something
different. For Kitsch there is no such mercy.
As opposed to art’s craving for the new, Kitsch roams within the domain of the familiar
forms in history. Kitsch becomes engrossed and spans expression to the utmost – the kind of
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exaggeration that Baudrillard calls “the obscene”. If Kitsch happens to create something
new it would be an exception, like what we find in Rodin’s insatiable passion.
Looking at the conditions for Kitsch at the end of the Modernist era, you might think that
its opportunities to exist would increase after because of Post-Modernism’s rebellion against
“the one and single truth”, but it continues to surprise me that there is so little room for “the
human voice”. Is then a sunset only water and air; only broken rays of light?
After I discovered the nature of art and the nature of Kitsch I understood where I belonged,
and therefore I would like to take this opportunity to apologize. With a foul taste in my mouth
I have called myself an artist but now I know that I am not one. I have addressed myself by
a false name and abused the attention given to me by the media – and the intelligentsia have,
of course, been rightfully angry about it. There is nothing more to my work. God knows
I have striven to become skillful enough to depict Humanity’s longings in my Kitsch. And what
could possibly drive us with a stronger force than the longings of our childhood and youth?
If there is a truth in these longings it must be found in the Gypsy girl wandering
into the sunset.
Art exists for its own sake and appeals to the room of officials. Kitsch serves life itself and
appeals to the individual.
If you fall asleep on horseback, the horse will stop before it hits the boulder.
Art is a car. Kitsch is a horse.
1
he Høstutstillingen is an annual art exhibition born in 1882 in Oslo (still existing)following the example of Paris Salons. It became the major national artistic event to
T
which all artists aimed to participate.
2
Charles Roka (Róka Károly, 1912-1999) was a Hungarian painter living in Norway. Born in Hungary in 1912, he went on an European journey after ending his studies at
The Academy of Fine Arts in Budapest. In 1937, he settled in Norway, where he stayed until his death. In 1939 he painted his first picture of the half-naked Gypsy Girl.
Numerous variations and reproductions of the motif made his financial success as a painter, but misfortune as an ”artist”.
3
Means 20th century.
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10
Odd Nerdrum
Odd Nerdrum
13
14
14
Stranded
16
16
Armed
17
Running Bride
Kitsch is never ironic
J U RY M E M B E R S
Helene Knoop
21
Mediterranean
22
22
Pygmalion
24
24
Vampire
25
Pregnant
David Dalla Venezia
27
Jan-Ove Tuv
Old Woman
31
Fallen
32
32
Pregnant Woman
33
Crossroads
The longing to elaborate his own melancholy through handcraft
is the quality of the kitsch creator
SELECTED WORKS
Jonny Andvik
37
Charon
Roberto Ferri
41
Self Portrait
Sampo Kaikkonen
45
Sibyl
Thomas Klevjer
47
Pond
Maria Kreyn
49
Self Defender
Richard Thomas Scott
55
Savannah Hornbills
Conor Walton
59
Allegory of Knowledge
For a kitsch creator all masters are contemporary
A kitsch work cannot become sentimental enough,
”too much” is really too little.
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62
Rembrandt van Rijn: The Return of Prodigal Son, ca. 1669, Hermitage Museum, St. Petersburg
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THE TIMELESS
By Odd Nerdrum
to an arbitrary state.
Shameless …
is one of them.
But if one digs deeper, there are numerous examples of other cultures’ penchant
to the destitute.
The psychoanalyst, the psychologist…have always been spokesmen for such things.
Had the western world been less obsessed by style and time,
Rembrandt might not have been hidden and forgotten for 150 years.
Frightening.
Had I lived in the 17th century, I would never have found him.
… its turmoil.
Helene Knoop
www.heleneknoop.com
Jan-Ove Tuv
www.janovetuv.com
Jonny Andvik
www.andvik.com
Davide Battistin
www.davidebattistin.com
Roberto Ferri
www.robertoferri.net
Fereidoun Ghaffari
(non ha sito web)
Sampo Kaikkonen
www.sampokaikkonen.com
Thomas Klevjer
www.klevjer.no
Maria Kreyn
www.creativeportfolio.org/mariakreyn
Mattias Sammekull
www.sammekull.se
Richard T. Scott
www.richardtscottart.com
Patricia Traub
www.patriciatraub.com
Conor Walton
www.conorwalton.com
World Wide Kitsch
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Odd Nerdrum
Running Bride
(detail)
Kitsch seeks intensity, not originality