The figurative visual language of Nicole Eisenman’s art is allegorically charged. Often – as most recently in her sculpture “Procession” at the Whitney Biennial 2019 – caricature-like allusions are made to social ills, especially under the Trump administration: placed on the terrace of the museum, several bronze and plaster figures, which understood themselves as typifications of American topoi and were commandingly robbed of their authority by Eisenman, went on trial here. Just as, for example, a blind general can be read as an emblem for irresponsible political leadership, a wounded eagle seems to be a symbolic attack on the heraldic bird and thus the ethical foundations of the United States. Accordingly, the title of the edition “Monster Movie” can be taken quite literally: in Eisenman’s Ditone print on paper, which was produced exclusively for “Texte zur Kunst,” that which society rejects and represses appears as a mask-like face reminiscent of classic man-machine depictions, as those in Fritz Lang’s “Metropolis” or in B movies, whereby outsiders are just as much in the center as the supernatural and occult. Originating, as it were, from the realm of monsters and mutants, the frayed edge of the paper not only points to the limits of humanity. Its haptics also crosses the boundaries between painting and object, making “Monster Movie” a hybrid artifact: a familiar stranger.
Nicole Eisenman, “Monster Movie”, 2020, die-cut Ditone print, ca. 78 x 58 cm, edition: 100 + 20 A.P. + 2 P.P., numbered and signed on the back, € 580.- plus shipping.