![]() ![]() Strumbel approached the church with the idea of an entirely modern intervention. In the German village of Goldscheuer, the artist reconstructs the interior of the integrated Catholic Church of Mary. By means of these altered objects, Strumbel successfully creates an illusionary world that mirrors the sickness of society. He actuates the mechanism of a society which, in its desire and pursuit of consumption, surrenders to the medium’s constant appeal to status. ![]() With his art, Strumbel instigates a shift in societal values: traditional ideals, clichéd notions of home and the reality of the individual are dismantled and transformed into something aesthetical that then becomes an allegory of the societal status symbol. How do I define “home”? How do I view myself? How can I project myself onto the outside world? Strumbel raises significant questions of identity with his work. Its full intrinsic meaning however, which loosely alludes to heritage, cannot be fully conveyed in English. However, Strumbel creates a uniquely artificial and artistic aesthetic, used to form extreme exaggerations of content.Īnother important aspect of his work relates to the concept of “Heimat”, the German word for “home”. ![]() With their colorful and bright surfaces, these works of art are reminiscent of light and shiny pieces of Pop Art. At first glance, these objects do not unveil their often disturbing content, but come across as beautifully shaped wooden sculptures. In doing so, he contextualises the objects in a completely new and often provocative way. He replaces important elements of the cuckoo clock, such as traditional carved decorations, with motifs dealing with themes of violence, pornography and death. His objects are collected by Karl Lagerfeld, Frieder Burda, and others.Stefan Strumbel made a name for himself in particular by reinterpreting traditional cultural artifacts such as cuckoo clocks, anchors and crucifixes, and also by exaggerating elements of Street Art and Pop Art. The aggressive defamiliarization of traditional attributes and the garish colors of Stefan Strumbel's works have proven widely popular. Local tradition thus becomes a cultural construction the cuckoo clock turns into an alien element and vehicle of the transference of individual identity. "Home" must here be read as a metaphor for experiences of socialization and the cornerstone of personal identityan identity that, in a globalized and increasingly digital world, takes on an anachronistic aspect. The critical engagement with the idea of the "homeland" is a central theme in Strumbel's art. For instance, he will supplant original elements of the cuckoo clock with motifs associated with violence, pornography, and death. He places cuckoo clocks, wooden masks worn during the local Carnival celebrations, or crucifixes in new and sometimes provocative contexts. 1979) overdraws the features of cultural products and cult objects from his native Black Forest by adding stylistic elements from Street and Pop art. For instance, he will In his prints, objects, and installations, Stefan Strumbel (b. In his prints, objects, and installations, Stefan Strumbel (b. ![]()
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