NATASSA POULANTZA Orgasm 1996 - x +
PouN1996orga

CN: PouN1996orga

MT: gouache and varnish on paper 8x(42x59 / F:44x61x4 / W:90x250x4)

CT: Art Beat, Brussels - 2009

LC: ACG - Cashiers Office

CM: Natassa Poulantza's Orgasm belongs to works of large format, rendered with expressionistic gestures, which she created at the Academy of Fine Arts in Munich at the beginning of united Germany.

Orgasm suggests a battlefield, but in fact expresses a characteristic emotion and a pure psychological state - the attitude of Germans towards a new Germany, which they did not foresee when the Berlin Wall fell in 1989. At that time Germans began to realize the contradictions between the different worlds that emerged - the technologically developed and prosperous Germany and ossified and impoverished Germany. The new reality prompted Germans to challenge their past and pave their future. The situation reached a point where one side seemed to throw over the other. It was a stage in history where Germans were called to scrape the remains and look at them anew from scratch. The Germans had to negotiate their identity and location. Orgasm expresse s this tension and concerns its climax to the limits. However, by no means does it lead into an anticlimax. The viewer finds himself at a point where he just triggered a landmine or received the explosion of a granade. The aim of the viewer is to reach deep to the root, where the scene may be different. The viewer feels a strong sense that he is alone in front of such hostile spectacle and seeks to communicate with others his experience.

This present work is from a small series, which explores warm earthy colors, unlike other works of the same period of cold marine and celestial tones. Here, water is missing to such a degree that its absence is felt. Poulantza is toying with those qualities that are invisible. She used varnish that leaves transparent traces like the wind. The shades of yellow, red and black color allude to a warm chthonic state, which accentuates the picture's arid and dry quality. Indeed, Poulantza used a fluorescent yellow color that - despite its highly artificial nature - has its origins in the Flemish landscape painting of the 19th century. As a matter of fact, in order to arrive at the desired result she appropriated the reproduction of a landscape of a Flemish painter from Rotterdam by covering it with graphite. Poulantza admires the Flemish as they achieved to convey in their works an incredible light that exudes calm. Poulantza changed the Flemish picture, which is romantic par excellence, to reveal that elements of the same picture can express its opposite - savageness. It is a fact that the world went through not a bright, but rather dark period as a result of the West's overgrowth. The challenge is for the world to rediscover light. Orgasm expresses eloquently the sense of hopelessness. Its mood is warlike. With Orgasm Poulantza externalizes her emotional response to the atmosphere that existed around her. In the knowledge of the formalism that characterizes their culture, Germans were trying to face the new situation in a civilized manner, but by contrats they encountered increasingly pronounced differences between them. On the one hand Orgasm defuses the tension of the author, while on the other it troubles the viewer.

The picture is divided into eight sections. The picture's deconstruction reflects the way the human eye sees - always only part of the landscape that surrounds it. The composition is dominated by a huge x-shamed pattern as cancellation directed outwards. This work was created on the floor, which allowed the artist to proceed with her entire body.

[Megakles Rogakos 01/2009]

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