PLAMEN DEJANOFF: Hohere Wesen befalen
posted on: Apr 12, 2008 on category: Cayenne

dejanoff 1 PLAMEN DEJANOFF: Hohere Wesen befalen
Plamen Dejanoff’s work Hohere Wesen befalen (2006/2007) is a complex work in the style of Pop art, object art and conceptual art traditions. In this body of work, he uses a Porsche Cayenne and its accessories as a sculpture. The bold act of elevating a vehicle and its accessories into the status of a sculpture requires a winking validation through “Hohere Wesen befallen” or forces majeres. The title is taken from a famous painting by Sigmar Polke.

The idea behind Polke’s work is a sort of automatic process taken from a gut instinct. Dejanoff’s work is extremely well thought out and planned meticulously, making his technique the exact opposite of Polke’s. So through the title of the work, the autonomy of the artwork and the artistic decision are ironically challenged.

dejanoff 2 PLAMEN DEJANOFF: Hohere Wesen befalen

Hohere Wesen befahlen is a model for Plamen Dejanoff’s artistic strategy, to illustrate the role of the contemporary artist within a market and consumer based society. Better described in Baudrillard’s words: The idea that something is “necessary is magic thinking”, produced by the same illusion, which makes people have the need to “consume” things. It is the magic created by the world of marketing. In this function, Dejanoff’s style stands with the Pop artist titans Jeff Koons and Andy Warhol. Andy Warhol made art in which the seductive world of consumer brands was regarded as art for the first time. Jeff Koons ties artificialness as a reality to art and does not make a clear distinction between industrial products or the manufacturer in his art. Dejanoff takes this idea a step further.

dejanoff 4 PLAMEN DEJANOFF: Hohere Wesen befalen

Contemporary art has become an “in demand” luxury product among other luxury products. Function and impacts of production, marketing and consumption in the economy and in the art world system adapt themselves appreciably. Dejanoff presents the complex connection of both systems in long-term conceived and interlaced projects. He denies explicitly both a critical and affirmative allocation of his work. His creation is committed throughout to aesthetic questions and the context of art. The artist is moving, although with large liberality, within the classical framework of extended sculpture. He challenges the inherent concept of “ready made”, object trouve, mixed media and elevates their traditional presentation form.

dejanoff 6 PLAMEN DEJANOFF: Hohere Wesen befalen

Plamen Dejanoff believes that cars are technical and compositional marvels as well as objects of desire. In his words, ” I am interested to think about art by means of the medium automobile.” He engaged an image agency to discover which cars would fit his personality and developed the work titled Alle Autos, die zu mir passen wurden (2002), forty crystal cars produced in a limited edition. The agency suggested a Porsche Cayenne as the centrepiece, which was acquired with the sales of the crystal glass car series and which was first exhibited in March of 2006 at the MUMOK in Vienna. This black Porsche Cayenne is the centrepiece for this piece, which unites performance and sculpture.

dejanoff 3 PLAMEN DEJANOFF: Hohere Wesen befalen

The first exhibition of the performance and filming from the series Hohere Wesen befahlen took place in the summer of 2006 at Kunsthalle in Kiel. Porsche provided the car from their Keil dealership in addition to external car accessories and mechanics. In addition to the film, Porsche presented a glass crystal wheel rim and exhaust system to the Kunsthalle in Kiel. The magazine Spike wrote an article for their publication as well. The article was estimated to have provided up to EUR 50,000 in free media coverage for the Kiel dealership. In November 2006, Porsche organized a VIP event for their Porsche Cayenne customers and showed the film premiere.

The second exhibition for the series Hohere Wesen befahlen took place at the Credit Suisse corporation headquarters and at the showroom of Michelle Nicol Fine Arts in Zurich. There the Porsche mechanics again disassembled the Porsche Cayenne under the watchful eye of Plamen Dejanoff, while the public watched and two film crews taped the action. Following the filming, the action moved to Michelle Nicol Fine Arts show room. There was broad media coverage by Vanity Fair, Sonntagszeitung, Bolero, Tagesanzeiger and Radio Energy.

dejanoff 5 PLAMEN DEJANOFF: Hohere Wesen befalen

There are many reasons why the collaboration between the artist Plamen Dejanoff and Porsche Ag fit. Porsche and Plamen Dejanoff both drive, innovate and support emotional goods for an unusual experience. Porsche and Dejanoff address the same target group: HNWI and UHWI with a preference for design, strength, modernity and future orientation. They both align themselves with an unusual and surprising platform. In the context of innovative art, the Porsche brand enhances value. Contemporary art is an interesting and intelligent lifestyle-experience that strengthens the Porsche brand and is a horizontal chaos in which culture and entertainment, artwork and industrial product and art and design mix. This exhibition creates a long-lasting effect due to long-term exhibition tours, artist films, artist catalogues and purchases by museums such as MUMOK (Museum of Modern Art, Vienna). Plamen Dejanoff has emerged from this plethora of information as an outstanding representative of the younger generation of concept artists, seeking a new connection between signs and symbols.

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