Ancora pochi giorni per ammirare gli ultimi lavori di Yinka Shonibare esposti alla Galleria Stephen Friedman di Londra, tra cui una versione dell'ultima cena, tema che l'artista sa declinare nel suo stile in modo intelligente e creativo.
YINKA SHONIBARE MBE - POP! 16 March 2013 - 20 April 2013
Stephen Friedman Gallery is delighted to announce a solo exhibition of new works by Yinka Shonibare, MBE.
This exhibition of all new works focuses on the corruption, excess and debauchery that have in part led to the current economic crisis. With characteristic wit and critique, Yinka Shonibare explores the contemporary worship of luxury goods and the behaviour of the banking industry while referencing well known iconography and art historical homage - most notably in his creation of a large tableau based on Leonardo da Vinci's ‘The Last Supper'.
POP! not only presents some of Shonibare's most ambitious work of late but also reflects the artist's engagement with social commentary. It heralds a new direction for the artist with large-scale self-portraits inspired by Andy Warhol's 1986 series ‘Camouflage'. The exhibition provides a unique opportunity for audiences to assess Shonibare's most recent lines of enquiry.
The centrepiece of the exhibition is the artist's largest and most complex sculptural tableau: a subverted depiction of Leonardo da Vinci's ‘The Last Supper' where Bacchus replaces the central figure of Christ. The Roman god of wine is here transformed into a headless satyr: half-man, half-goat. Surrounding him at this debauched banquet are his twelve beheaded disciples cast in poses of sexual and animalistic abandon. In homage to da Vinci, and filtered through the lens of Victoriana, the scene unravels as the Dionysiac climax of a pan-historical hedonistic party. By removing the figures' heads, a recurring motif in Shonibare's work, the artist dissuades associations of race. We are also reminded of the executions of the barbarous French Revolution: a period fittingly remembered for its corruption and excess. In direct reference to the celebratory excesses of the banking world, these debauched guests have cast their work troubles aside with no care for tomorrow; scattered across the table is the debris of a lavish feast of both glutton and luxury. This dramatic tableau is a moment frozen in time, inviting us to walk around and marvel at its exuberance.
Furthering the sense of an over-indulgent party, a sharply suited banker is displayed in another room, simulating the act of masturbation with an exploding magnum of champagne. Deliberately brash and humorous, the work