VISITS: NOBERT BISKY

Whitelies visited acclaimed contemporary artist

Norbert Bisky at his studio in Berlin-Friedrichshain to

talk with him about his current solo exhibition

"Anomie" (on view till May 19th 2018) at KÖNIG

London, the political and social status quo in

Germany and his perception on personal failure.

First of all we would like to talk about your current exhibition

“Anomie“ at König Galerie in London. What does Anomie signify

to you? How would you define the term?

Hearing the word you feel like you want to scratch yourself nervously

on the shoulder. Something is not right. In the beginning of this year I

had an encounter with anarchists. I visited an exhibition in an old

concrete bunker here in Berlin, which deals with the historical

situation in Germany between 1920-1930 and the socio-political

situation before the Nazis. I came across the persona Marinus von der

Lubbe who played a significant role in the history of Germany. He

was a young anarchist, crazy and gay, who was executed when he was

just 25 years old for putting the Reichstag on fire. The event was the

main reason for the Nazis to persecute communists, socialists and

priests.

In general, I’m not a political person, but we currently find ourselves

in a new situation in Germany. For the first time in a long period we

have a right-wing populist party in the parliament. They advocate

harmful point of views and fight against values, which characterize a

city like Berlin. They even wanted to close down Berghain. I grew up

in East Berlin. I know how fast things can change.

The political situation really moves me at the moment. I am scared of

a butterfly effect that would change our living so I engage with

certain topics through my art.

Anomie derives from the French and implies that the rules within

society get suspended and perpetrated. With my paintings I aim to

reflect this current state. Everything is fine, but there are certain

people in society who cause disturbance. There is a sense of

discomfiture.

No, I believe it’s good to break certain rules. I don’t see it black and

white. I believe it’s one of the preferences of art, things can be

examined on various levels.

Your paintings show dystopian motives, like collapsing buildings

and torn bodies, but at the same time your imagery features light

colors and soft forms. What’s your intention for the interplay

between these contrasts?

Yes, I find myself again and again surprised by many phenomena.

Things that look beautiful from the outside but are terrible on the

inside. I attempt to create paintings, which I find visually pleasing,

but also address the latent dread and discomfort I feel myself every

day. I want to catch things on many levels, but I refuse to portray

So, Anomie has a negative connotation for you?

Let’s continue to talk about your current exhibition at König

London. The installation of your exhibition is impressive, red

walls and carpets on the floor. To what extent is the installation of

your exhibition important to you. How does it support the

message of your art?

It’s very important to me. The first thing I do when I receive an offer

for a new exhibition, is to visit the location and then think about how

to respond to my first impression.

The space at König Galerie London reminded me of a tunnel, a

basement room without windows. I wanted to intensify this

impression. For me it’s the same process and steps like moving into a

new apartment. I painted the walls myself in a lush expressive non-

finito way . The red walls create discomfort, a feeling of aggression,

which goes hand-in-hand with my paintings. Whereas the carpet is a

complex symbol with eclectic meanings.

Your art works address social and political issues. Do you see

your atelier as a “safe haven“ in turbulent times?

I wouldn't consider my atelier as a safe haven. But working here is my

purpose in life, that’s why I come here every day. My atelier is very

central at one of the hot spots in Berlin. I chose this spot, because I

believe it’s vital for an artist to be in a vibrant environment.

them in a dark, gothic-like aesthetic – rather in a language I find

appealing myself. It’s about the aesthetic, which surrounds us every

day. We all are aware of the dangers of capitalism, but at the same

time it seems sweet´n charming from the outside.

Do you think our society is forever lost?

No , I don’t think at all that our society is lost. I’m very optimistic.

What I find tough though is big inequality, which is an actual

problem. The other day I had a conversation about the issue of world

hunger, which decreased over the last years. But hey, there are still

almost 800 Million people in the world suffering on hunger.

There are certain things in the world, which I deny accepting, like

inequality of opportunities, the bondage of movement between

countries and landownership. I just refuse to accept the thought that

changing things would be impossible.

Do you feel responsible as a contemporary artist to address

current social and political issues? Or do you feel free in your

creativity?

I feel totally free in my creative process. As I grew up in East

Germany I do exactly know what it means not to be free. My only

concern is that my work should make sense. My paintings should

reflect the present age. It’s almost like I want to put information in a

concern is that my work should make sense. My paintings should

bottle post and close it to preserve witnesses of our time.

We have just talked about a failing society. Does personal failure

exist for you?

Christoph Schlingensief once said “failure as chance“. I believe failure

is a big word. For sure not everything works out, but failure might be

important, because it puts things clear to you. Things which don’ t

work out might be annoying, but very important in the end. Maybe I

wouldn't paint today if there wasn't failure. For me the idea of a linear

life, moving straight-lined like on the highway, is bovine and boring.

Interview Isabella Rhein & Caro Gettler

Photography Caro Gettler