LARS KARL BECKER,
SATHIT SATTARASART

A convenient World Clock

We are stumbling through Sathit Sattarasart’s mechanically produced monument-like human beings on the gallery windows, into a minty fog that enshrouds Lars Karl Becker's large scale drawings. The realm, behind the glass, consists of these all too familiar weirdos bluntly extracted from its respective book pages. An unofficial intercompany crossover where Richard Scarry's Lowly Worm encounters more sinister, to downright evil characters, the very german TKKG gang; A group of youth detectives relying on racial profiling and victim blaming as investigation methods. Nowadays, most right-wing politicians would be proud of them; but at the time of their creation in the 1980s, they were only the most common detective stories for kids. 

Becker’s Gauloises depicts a collapsing universe in a toothpaste color palette. Two different worlds are now ought to share the same Earth. The everlasting conflict between false promises of a cute anarchic world consisting of easily functioning grown ups, and a rigid social regime to look forward to becoming a ruling part of it is now locked into a stalemate. In this exhibition, there is literally no other way to look through Becker's post-pedagogic psychedelia than through Sattarasart’s prescribed eyeglasses of his schematic drawing Therapy with props. Mounted on the storefront window of the exhibition space with a necessary assertiveness, it is not a key to the work; but rather a citadel in an intellectual battlefield.

Both artists are united in a silent scream: »Stop educating!«. No wonder they are equally scared and fascinated by the sight of monkeys sitting by mountain roads; fiercely looking at them passing by in a car— all of them simply waiting to attack, if a window is rolled down. They already have been poisoned by society too. Depictions of strange motions on the floor are at the heart of Sattarasart’s surreal remix of a classic Gustave Courbet painting. An all too obvious glitch in reality-reproduction: All tools of the craftsman have been swapped for pineapples; Social realism going slapstick—or at least weirdly locked up to our analytical grown up minds. 

There never has been a state of nature in the first place, nor a realistic option for a different world in law and order; accepting this stance, Becker's distillation of intellectual poison fed to us as children seems just like another attempt to find an alchemical cure for pedagogies that have been applied to us. Civilization is a nightmare for any individual. Sattharasart short-circuited the idea of social realism in art violently, goodbye Paris Commune. The only thing we can be sure about: we’re still welcome to enjoy the cold comfort of culture; and even more important, to get a bit tipsy at the fireplace.

(Text by: Seth Gastrell)


A CONVENIENT WORLD CLOCK
20.01. - 24.03.2023

ABOUT

Founded in 2019, MAYBE THE GREATEST ARTSPACE IN AUSTRIA is located in the heart of Halleins historic oldtown close to Salzburg. Specialising in contemporary art and presenting a wide-ranging programme with works of both national and international artists, it shows up to 6 exhibitions each year in a unique space. The location also offers assistance, curatorial expertise and online distribution of represented artworks.

For further information please contact MAYBE THE GREATEST ARTSPACE IN AUSTRIA via email.

LOCATION

MAYBE THE GREATEST ARTSPACE IN AUSTRIA
Postgasse 2 / Robert Platz
5400 Hallein / Salzburg
Austria

info@maybethegreatestartspaceinaustria.com

ONLINE - GALLERY

Now, you got the opportunity to buy the art you´re obsessed with, directly in our online-shop!

NEWSLETTER

LARS KARL BECKER, SATHIT SATTARASART

A convenient World Clock

We are stumbling through Sathit Sattarasart’s mechanically produced monument-like human beings on the gallery windows, into a minty fog that enshrouds Lars Karl Becker's large scale drawings. The realm, behind the glass, consists of these all too familiar weirdos bluntly extracted from its respective book pages. An unofficial intercompany crossover where Richard Scarry's Lowly Worm encounters more sinister, to downright evil characters, the very german TKKG gang; A group of youth detectives relying on racial profiling and victim blaming as investigation methods. Nowadays, most right-wing politicians would be proud of them; but at the time of their creation in the 1980s, they were only the most common detective stories for kids. 

Becker’s Gauloises depicts a collapsing universe in a toothpaste color palette. Two different worlds are now ought to share the same Earth. The everlasting conflict between false promises of a cute anarchic world consisting of easily functioning grown ups, and a rigid social regime to look forward to becoming a ruling part of it is now locked into a stalemate. In this exhibition, there is literally no other way to look through Becker's post-pedagogic psychedelia than through Sattarasart’s prescribed eyeglasses of his schematic drawing Therapy with props. Mounted on the storefront window of the exhibition space with a necessary assertiveness, it is not a key to the work; but rather a citadel in an intellectual battlefield.

Both artists are united in a silent scream: »Stop educating!«. No wonder they are equally scared and fascinated by the sight of monkeys sitting by mountain roads; fiercely looking at them passing by in a car— all of them simply waiting to attack, if a window is rolled down. They already have been poisoned by society too. Depictions of strange motions on the floor are at the heart of Sattarasart’s surreal remix of a classic Gustave Courbet painting. An all too obvious glitch in reality-reproduction: All tools of the craftsman have been swapped for pineapples; Social realism going slapstick—or at least weirdly locked up to our analytical grown up minds. 

There never has been a state of nature in the first place, nor a realistic option for a different world in law and order; accepting this stance, Becker's distillation of intellectual poison fed to us as children seems just like another attempt to find an alchemical cure for pedagogies that have been applied to us. Civilization is a nightmare for any individual. Sattharasart short-circuited the idea of social realism in art violently, goodbye Paris Commune. The only thing we can be sure about: we’re still welcome to enjoy the cold comfort of culture; and even more important, to get a bit tipsy at the fireplace.

(Text: Seth Gastrell)

A CONVENIENT WORLD CLOCK
20.01. - 24.03.2023

ABOUT

Founded in 2019, MAYBE THE GREATEST ARTSPACE IN AUSTRIA is located in the heart of Halleins historic oldtown close to Salzburg. Specialising in contemporary art and presenting a wide-ranging programme with works of both national and international artists, it shows up to 6 exhibitions each year in a unique space. The location also offers assistance, curatorial expertise and online distribution of represented artworks. 

For further information please contact MAYBE THE GREATEST ARTSPACE IN AUSTRIA via email.

LOCATION

MAYBE THE GREATEST ARTSPACE IN AUSTRIA

Postgasse 2 / Robert Platz
5400 Hallein / Salzburg

Austria

info@maybethegreatestartspaceinaustria.com

ONLINE - GALLERY

Now, you got the opportunity to buy the art you´re obsessed with, directly in our online-shop!

NEWSLETTER