“Pop Reloaded” is a contemporary Helvetian-Latin American Hommage to Pop Art. The group show presents works by Juan Pablo Echeverri (*1978, Bogota), Hanspeter Hofmann (*1960, Basel), Pierre-Alain Münger (*1977, Solothurn) and Nadín Ospina (*1960, Bogota).
Ever since the 1960s the eye of society is accustomed to cartoon aesthetics and consumerism chic on canvases as well as on billboards. Originally inspired by advertising and interested in the socio-political mechanisms inside a consumption-oriented society, pop art, has already found its way back into advertisement, nobilitated by artists like Andy Warhol and Roy Lichtenstein. Due to its bold appealing looks the political and socio-critical reference, at the time especially crucial for many British positions of the movement, have faded into the background.
The artistic positions by Juan Pablo Echeverri, Hanspeter Hofmann, Pierre-Alain Münger and Nadín Ospina stand for the timeliness and universal validity of „pop art“ as an artistic expression of the reception of socio-political occurrences of everyday life and history.
The parodistic video pieces “SEXUAL FORESTZ” or “LEZANGELES” by Juan Pablo Echeverri are full of humour, sarcasm and socio-critical irony. Neither does the artist stop short of self-mockery and -scrutiny. For his series “miss fotojapón” he daily took a photograph of himself in a public photo booth over the course of thirteen years, a “work-in-progress” that serves as centrepiece for his work.
Hanspeter Hofmann is very self-conscious about his position as a functioning part of a consuming, explorative and communicational society. He knows its rules, utilises, stresses and equally questions them consistently. His chimpanzee portraits on chromatic base are definitely “pop”.
For years Pierre-Alain Münger has devoted himself to the concept of the crash. His most recent series focuses on the American economic crash caused by the oil crisis in 1973. Forty oil cans covered with gold leaf in the form of a giant American flag and a mortuary car, a 1973 Cadillac, demolished on a crash test track are just a few associative marks of this historic crash.
Nadín Ospinas ironic-iconic hybrid sculptures toy with the global collective memory of society. Among his most famous pieces rank his pre-Colombian finds reminiscent of Disney characters and his landscapes built of Lego referring to the Colombian drug war. Ospinas body of work questions the perception of everyday life and history such as the resulting formation of one’s identity within society. Is what we see ‘real’? How much is, what we believe to be, based on the appropriation of external pictures? What do we relate more to? The Simpsons or a Tunjo (= ancient Columbian votive object made of gold)? How do tradition and politics influence the toy industry?