What do “Brave New World” by George Grosz and “Balkan Erotic Epic: Women in rain” by Marina Abramovic have in common?
Little did Aldous Huxley know when he wrote “Brave New World” in 1931, that his dystopian novel would herald a time in which “IVF” and “Sperm Bank” are practically universally understood terms.
George Grosz renders a poignant homage to Huxley’s masterpiece in this watercolor; he presents a major development in the field of fertility -a depiction which is here nevertheless not devoid of eroticism.
Conversely, Marina Abramovic presents a historic instance of the employment of eroticism and sexuality in Serbian folklore to address everyday issues. For example, if it rained too much the women of the village would run into the fields and lift their skirts in an attempt to scare the gods and end the rain.
So, both works address fertility therefore -of the human species and of the soil; yet what unites these otherwise very different approaches is a common acknowledgement of sexuality as a catalyst for fertilization, and in both instances, without the direct involvement of menfolk…
My personal experience with the imposing Marina work was that even as male viewers mostly seemed a bit rattled by the obvious sexuality radiating from the work, female visitors universally displayed an unequivocal and very touching response to the symbiosis between the revelation of the female sexual organ and the lushness of the landscape.
Please click on the image below for installation views.
"Fertility”: Side by Side Gallery Akim Monet, Berlin, September 9 – November 26, 2011.
Photos: 2011 ©️ Side by Side Gallery Akim Monet GmbH, Berlin
Popcorn Gallery Los Angeles is the curatorial branch of Akim Monet Fine Arts, LLC. After a decade in Germany, where Akim Monet founded and operated the renowned Side by Side Gallery Akim Monet GmbH on Berlin’s famed Postdamerstrasse, he moved his practice to Los Angeles in 2018, where he continues to develop his focus on thematically curated exhibitions that juxtapose modern and contemporary art.