Group show curated by Karola Grässlin & Christian Nagel
What does the average German consumer dream of when he thinks of a holiday: Majorca. What do the rich and beautiful of Germany dream of when looking for a second home: Majorca. Talking about Majorca often means speaking of mass tourism, drinks and parties while conversing on George Sand and Chopin.
The HOSSA exhibition - the title owing to the refrain of Rex Guildo's German beer tent hit 'Fiesta Mexicana' - brings together 37 decisive currents in German art of the last decade. The artists have orientated themselves more or less closely to the place and theme, according to their individual character. The common denominator is the nonchalant handling of the compulsion for justification and the targeted audience's feelings of existence. Thus, a number of the participants can be characterized by a challenging denial of a fixed attitude to low-brow culture and high culture.
For Franz Ackermann, Michel Majerus and Hans-Jörg Mayer it is the permanent challenge of the often declared departed figurative art through their own means, whereas for some time Manfred Pernice has united a classic concept of sculpture, open towards the minimalistic, with the form finding of everyday life. Cosima von Bonin's fabric pictures are characterized by contrasts in form and colour, and especially by contrasts in materials, which are enriched by ambiguous picture titles. Likewise, the works of Kalin Lindena are characterised through semantic systems, underlined by a.o. the titles, of music, of individual social integration and through an extensive picture repertoire of high culture and pop culture.
Majorca in specific is a congenial place to project heterogenous cultural expectations. The island is subject and starting point for the 'Hundefinca' ('dog finca') which Tobias Rahberger and Almuth Middel created specially for the exhibition by inspiration of a sacral canopy in the dome of Palma, while Ina Weber exported the elements of a common German pedestrian zone to Andratx.