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Collective Wishdreams of Upperclass Possibilities
Plamen Dejanoff (Veliko Tarnovo, 1970)
Mixed technique, various dimensions
3191
2004 Genova
Dejanoff, Plamen Brno 1968 -
Plamen Dejanoff analizza i meccanismi delle corporation - dalla produzione al consumo - per incentrare il suo lavoro artistico sulla comunicazione. La riflessione sulle connessioni tra arte e economia investe la sua stessa vita, con una ridefinizione globale della sua immagine attraverso una campagna di comunicazione che lo porta a modificare il suo stesso cognome, da Dejanov a Dejanoff. Da queste premesse nasce la serie Collective Wishdream of Upperclass Possibilities di cui fa parte l’installazione del museo. Rifiutando la distinzione tra oggetto d’arte e prodotto industriale, Plamen fonde elementi di architettura, pittura, scultura: gli oggetti prelevati dal mondo del design o dalla produzione di altri artisti non sono più estensione dell’individualità di chi li ha creati, ma ipermerci autonome che generano desiderio. Installazione composta da una piattaforma bianco-azzurra, dagli “oggetti del desiderio” - un cerchione di cristallo artificiale, fedele riproduzione di un cerchione della Z3 Silver di produzione BMW, una poltroncina del designer australiano Mark Newson e 3 lampade stile Vistosi in vetro colorato.
Installation
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3191
Tecnica mista
In storage (inv. no. 3191)
Plamen Dejanoff, renowned for his works which spark a short circuit between the art world and the economic market, studied at the Academy of Applied Arts in Sofia and the Academy of Fine Arts in Vienna. From 1994 to 2000 he established a long partnership in both life and work with Swetlana Heger (Brno 1968), creating an artistic company which participated in numerous collective exhibitions, including the 2nd Berlin Biennial.
Since 2001, Plamen has individually continued to explore the themes previously tackled in collaboration with Heger, focusing on the relationship between culture and economy, art and market and, by extension, reaching a fusion of art and life.
His strategy is much closer to the production dynamics of large multinationals than to the working process of an artist. He analyses the mechanisms of corporations - from production to consumption - in order to centre his work on communication.
This reflection on the close ties between art and the economy extends to his personal life, with a global rebranding of his image through a communication campaign, leading to a modification of his surname itself, from Dejanov to Dejanoff.
This premise gave rise to the series “Collective Wishdreams of Upperclass Possibilities”, of which the installation at the museum is a part, exhibited at Liste during the ArtBasel fair in 2003.
Rejecting the distinction between art object and industrial product, Plamen blends elements of architecture, painting, and sculpture: objects taken from the world of design or the output of other artists are no longer an extension of the individuality of those who created them, but autonomous hyper-commodities which provoke desire.
Hence on a shiny blue and white platform, the “objects of desire” - a wheel rim in artificial crystal, a faithful reproduction of the rim of a BMW Z3 Silver, a chair designed by Australian Mark Newson and 3 Vistosi lamps in coloured glass - are offered up to the yearning gaze of the observer, creating a universe of entirely autonomous objects and brands.
