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Karen Appel, Kuratorin Kunsthaus Kaufbeuren, 2012

About the work "I’ll show you my trophy collection, 2004-2009"

With his seemingly random collection, Pippi Frank emulates other forms of large scale collections, such as a curiosity cabinet. It is a rather modest collecttion compared to, for instance, the trophy collection of a hunter, with no apparent attempt to document, classify, or rank ist objects.

The use of the term of tophy is crucial in thes context. The objects in the cabinet come from the child-adolscent world – feathers, phallic symbols, chocolate animals, and urine crystals. The artist’s choise of materials makes clear that animals are an essential component in assimilating to the world around us, by which we learn the most basic operations like eating, excreting, playing, copulating, and playing. The altered objects show a refined way of assimilating to our surroundings-chocolate bunnies are merged, horns gilded, drake curls attached to ducks formed with chewing gum, and urine crystals cultured by the artist with his own urine.

Pippi Frank explains: „The idea of untypical trophies arose on the basis of collected antlers I once gilded. I shaped chewed gumd into archaic phalli and animal objects that resemble Stone Age sculptures. I enhanced some with gold leaf, others were covered with dust. I cultured crystals in my urine and let chocolate bunnies copulate. The collection that originated from these fetish objects seduces the viewer and leads him to an ambivalent situations: revulsion versus attraction.“

Material provenance: Pippi Frank collected the antlers and drake feathers in his youth. As his grandfather’s friend was a hunter, Frank developed an interest in animal trophies at an early age. The objects remind him of his childhood and his grandfather.


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The abjects one created by Julia Kristeva terminus (see: Powers of Horror - An Essay on Abjection), which describes those cast off and replaced the things and situations that stand between subject and object. These are not just fringe groups of society, but also about physical excretions, such as feces, urine, blood, saliva, etc., which originate from the body, but are then released. The substance will be separated from subject to object, although still a part of himself recognizes. This one leaves the familiar world of the symbolic order and opens the doors to disgust, horror and the uncanny. For Kristeva this traumatic act of separation is also a necessary act in the never-ending process of self-discovery. For artists, these stages are as attractive as they may be generating other disgust. The world of fetish production thrives and white, the ambivalence between repression, disgust and attraction in itself make them commercially available.



Frank Maier obviously plays with the figure of the abject and lets the march sinister, disgusting in a familiar form again, it tells stories and anecdotes with well-known again. What with Paul McCarthy makes the familiar, innocent and harmless person by Heidi will have to Frank Maier Pippi Longstocking, which - as the name says - a penchant for urinating. The bold red-haired prepubescent nine-year thing, created in 1945 on paper and filmed in 1969 in a Swedish-German co-production, demonstrating unconventional forms of protest and children of the do-it-yourself logic for children. Frank Maier eroticized a slightly older, more sexy Pippi and incites them to Toulouse-Lautrec, representing sick but famous dwarf (152cm) cripple, who also was still suffering from genital hypertrophy (oversized penis). Toulouse-Lautrec was a regular guest in the salons, the love of spectacle and as a business offering, which his art has suffered no damage.For the thesis Frank Maier reconstructed three-dimensional milieu of Toulouse-Lautrec painting "In the salon of the Rue des Moulin" from 1894, where relevant entgegeneifern the ladies paid a visit. Instead of the edge trimmed man who strolls five women, Maier developed an ensemble, where the provocative, to Toulouse-Lautrec pissing Pippi with an intriguing pseudo-functional game object appears as a star.In addition to the ladies room and the inventory presents the work of Frank Maier "Not spickeln - make two rabbits making love", ie a cylinder of his grandfather, in which drive two hares hiding on a glass plate. On the other glass plate strange, stunted vines can be seen, an even combined with a vibrator. Whimsy to the scene with Frank Maier's golden bubble gum works, which represent both Toulouse-Lautrec as well as an isolated female genital. Underneath is an attractive bottle of cognac, the contents of Maier in his mouth with saliva completely refined.An oversized folding long stick, which seems to stand up for the brevity of the other projects, such as the demarcation of the image - or an activity room to the ceiling. The titles of the works are written on Sütterlin and assigned to work. Two-dimensional installation is supplemented with a poster entitled "Pippi Pippi must go to Toulouse and Pippi in the puddle" and imitating the design and the exhibition title from the Toulouse-Lautrec Museum of Albi. This exhibition will be open in 2011, the 110th Death of Toulouse-Lautrec. Frank Maier loves it, with its pools and "pussies", the Pippi Pippi and also to go linguistically alien. Finally, rounding a video this orgiastic "smut off" by the artist himself in damp activity permitting, the urine cycle brings by sucking on the move, creating a puddle around the painter and marked the scene in the role of a suitor with Pippi's stockings on his arms, before he was again joined to the prostitutes.Prostitutes as sex workers vulgar are called, are embodiments of abjects as defined by Kristeva, because they represent not only a social fringe group, the society helps economically (such as "guest workers" or "illegal non-immigrant workers"), but because those use part of the industry love to remain in civil life unfulfilled, "disconnected", "separated" is. Love is commercialized in the sex industry, commodified, sold and as an object simply degraded to abjects and deported to a hated, frowned upon, marginalized, and often criminal environment, where modern slavery flourish with disease, violence and glittering misery and a lot of money, attraction and Imagination , but this in turn enriches courting the popular imagination and aufgeilt.The desire and repulsion is compressed in the works of Frank Maier by their quasi-magical "retelling" the extreme slow motion and transforms the viewer to get innocent voyeurs, the lousy, obscene things like the first time demonstrated. Maier enchanted and shocked at the same time but did not defuse the supporting love-hate tension. The social as well objektkritische reflection potential is strengthened by this oblique, provocative works and works of a psychosocial value that demands our social norms and love responses, without having to ask big questions.

Prof. Rainer Ganahl, 2008

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The Venus of Willendorf was circumcised
Paleolithic Venus figurines - like the Venus of Willendorf - are the starting point of the new project by Frank Maier. On different media levels of the 34-year-old installation artist working with issues that do not stop at the belt line: for example, with human and animal excrement, sexual set pieces or acts of violence and ritual.Another decisive factor is the sometimes grotesque combination of different materials and the related connotations. How else could remind the viewer rather than a campfire stealth gum conglomerate, whose optical stimulation to brown body fluids that differ from particular band? It starts a playful pseudo-research, in the illusions and fantasies own mix with elements of the Stone Age research.Since the artist, the two major archaeologists, Dorothy Garrod and Johanna Mestorf 19thCentury, makes Ausgräberinnen his installation, he leveled time and space, fiction, and (cultural) history. An ambivalent play of - between beauty and terror, disgust and attraction, ironic humor and shocking consternation. 

Galerie 14-1

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Galerie 14-1 
Opening Speech by Annik Aicher, 5 February 2010 
Archaic magic deals with the last artist that I would like to present evening. It is Frank Maier, who was born in 1976 in Nürtingen and now lives in Munich. He studied among others by Prof. Rainer Ganahl. Although it at first glance looks like - this is not a branch of the Grand National Exhibition "ice age", but the first exhibition in the new project space of the gallery 14-1. Thought is the project space as a showroom for young artists who come straight out of university or still studying. A very good idea, I think. Because the result is a fascinating dialogue between established artists and newcomers.Frank Maier has transformed the space into a magical stone age cave. For the artist is fascinated by ancient history, which he interprets in their own way. It has biographical reasons.As a child he wanted to be an archaeologist and has collected on the field pieces and archived.This playful, limitless, and non-academic approach that has always been. So he designed around cave graffiti with spray cans archaic animal forms and contemporary technology. Or he can mold from chewing gum Venus figurines made of horn and fetish objects. The fluff from the vacuum cleaner bags to the historic cave dust. And sometimes he makes a provocative theses, such as "The Venus of Willendorf was circumcised." So goes the title of this exhibition.A hallmark of Frank Maier, is that he regards all undaunted large and difficult subjects. How about the issue of female circumcision, which is in reality a female genital mutilation. A cruel rite in which many girls have already died. The reason for the title of the exhibition was the stone figure of the Venus of Willendorf. Here Frank Maier has noted that the designer hit Ice Age must be probably slipped a notch and near the labia. As an archaeologist, he spins a fantastic further this observation. And here appears the black thread again, we have just seen in the issuing of Annegret Soltau. Frank Maier also stitched a woman's body - who is with him but instead of felt out of photo paper.Frank Maier wants to give food for thought. How about to conventions and taboos. And for the transformation of social norms. In the Baroque period, for example, would be the advertising slogan "greed is good" have been fatal - two deadly sins that are brighter. Today, however, would no longer his chamber pot on the street empty. Not so long ago that was all right.Therefore irritated us the excrement on the cave floor. However, the are not real, but formed of chewing gum. Since we, the artist also known as Frank played a trick on Pippi. Thus, the artist calls on his homepage. He then mixed up the name of Pippi Longstocking, the heroine of his childhood, with the children, the 'urine. This ambiguity is also on the central photo of the site expressed. The artist pees in the squat. And so does attention to another, the gender taboo.For public urination in men is tolerated in women is inconceivable. But the picture was already a blow. Frank Maier has posed only on a rain puddle.In his stone-age cave theme Frank Maier, the art itself. For as we know since the Great National Exhibition, the oldest work of art comes from the Stone Age. But of course, like all the best, from the country of innovators and inventors - from Baden-Wuerttemberg! 40,000 years old is the Venus of rock caves, which was found a half years ago. For comparison, the cave paintings of Lascaux are only 18 000 years old. Archaic forms have fascinated many artists from Frank Maier. So shocked about Picasso, when he in 1907 his "Demoiselles d'Avignon" presented. Following the example of ancient African masks he had moved wife faces and bodies and dissolved displayed. Instead of outward beauty, he put on a strong emotional expression to inner magic. For me, the Stone Age is also room for a magic hut. As a North American sweat lodge, into which one enters and turns out again. In this sense I wish you stimulating experiences. But beware: Enter at your own risk!


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