Labelling her sultry and seductive models with German political party vanity chains identifying the joint Christian Democratic and Christian Socialist Union, Jospehine Meckseper spin-doctors a media savvy image parodying the right wing. Meckseper’s enlarged faux magazine spread updates traditional allegorical painting via woman’s fashion advert, drawing veiled reference to Angela Merkel, the party’s leader and Germany’s first female chancellor. Raising uneasy questions about class, power, nationalism, and feminism, Meckseper portrays her homeland as a twinned stealth-like beauty: Arian perfection garbed in democratic coloured designer gowns, languishing in extravagance and oblivious to the proletariat maid lingering in the distance.
Often using shop windows and display cases, Josephine Meckseper conceives the art gallery as boutique: a cultural arena where aesthetics merge with ideologies, politics, and lifestyle axioms, levelling all as capitalist bi-product.Untitled (End Democracy) uses minimalist aesthetic as a tool of numbing seduction. Set atop a display unit reminiscent of Robert Morris’s mirrored cubes, Meckseper presents a lingerie shop mannequin and a Communist rally poster, converting their cold manufactured presence into a monument of classical heroism. Reflecting its surrounds, Untitled exudes an entrancing charisma, encapsulating all as equal its torpid and alluring wake.
From Josephine Meckseper at Saatchi
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