Cookies disclaimer
Our site saves small pieces of text information (cookies) on your device in order to deliver better content and for statistical purposes. You can disable the usage of cookies by changing the settings of your browser. By browsing our website without changing the browser settings you grant us permission to store that information on your device. I agree

Simon Fujiwara, „Little Blue Identity Diver“, 2022

Simon Fujiwara

Little Blue Identity Diver (2022)

The historical and cultural issues Simon Fujiwara deals with in his work are as manifold as the artistic techniques he applies. Well versed in both traditional media and digital image production, the Berlin-based artist often develops his pieces as parts of a series. The protagonist of his latest multimedia project is a child of the Covid-19 pandemic: “Who the Bær” was brought into the world in 2020, when Fujiwara – like many across the globe – suddenly found himself confined to a highly limited space that only allowed personal contact via screens. But “Who the Bær” is a creature of their time in other aspects as well: they grapple with issues of gender, race, and sexual identity. “Who” celebrated their introduction to the Berlin art world at Fujiwara’s second solo show at Esther Schipper in Berlin earlier this year, on the heels of a major debut exhibition of “Who the Bær” at the Fondazione Prada, Milan, in 2021. For TEXTE ZUR KUNST, Fujiwara’s character, expertly equipped with a snorkel, swimming cap, and Speedos, dives into the image world of colorful cutouts. As “Who”’s name suggests, the figure is void of identity and in perennial search of a selfimage, and thus their habitat is, naturally, flat. Thus, the highly simplified color and form of 20th-century-style cutouts offer a suitable environment. By plunging “Who” into the deep blue, Fujiwara’s “Diver” not only presents an update to well-known art historical imagery, it also brings to the surface the role of the decorative as a serious subject of study for artists. Deeply invested in consumer culture, both as a critic and entrepreneur, Fujiwara unfolds the “Who-niverse” he created into the art market and well beyond.