JIRI GELLER

芬蘭藝術家 的雕塑作品
DUNKEHEIT VI

Jiri Geller

source: highlike

Work: Like an anarchist who has studied every stitch and fold of the banker’s suit, Jiri Geller models and subverts the iconic forms of contemporary culture with vengeful precision. While – not inaccurately – self-defining as “an outsider, a punk rocker”, Geller is also the rare Finnish artist who has both managed to stay close to Finnish aesthetic strengths and traditions and also detonate his own unique brand of post-national, mind-fucker nihilism. As a Finn, Geller’s work perfectly fits that grey Nordic outpost’s proud, tragic tradition. His sculptures are elemental and essential, fascinated with death and violence, critical of the fake and phony, and ever aware of just how dark the world can be. But then, rather than being limited by his roots – or in denial of them, Geller keeps to this impeccable conceptual framework, and takes it global. While never repeating himself, Geller targets the same territory again and again to explore the idea that what in our modern world is deemed solid, permanent and valuable is in fact melting, suspect, and utterly transitory. Geller’s objects offer meaning despite their solidity and materiality. A pessimistic yet playful – at times quite profound – energy flows through them: escalators connect one to nowhere; fiberglass tsunamis promise leisure sport and/or death by flood; ice cream cones sit frozen in mid-melt next to exquisite skulls that melt and drip like butterscotch candies in the sun. It’s rare to see such playfulness and heaviness seamlessly combined in the same artistic vision: Geller’s balloon fabrications radiate all the lighthearted joy of portraits of children…who have recently died. And he has constructed a video game control module possibly intended to burn you alive. But if Geller’s all sharp knives, dark jest and nihilist prankster, what’s with a name linked to that slightly dated globe trotting charlatan asshole – Uri Geller? Jiri explains: “Uri is friends with Michael Jackson – that is cool. And both Uri and I do tricks for a living. I like the way that people get suspicious when thinking they might be being cheated. Like: ´Could this guy’s name really be Jiri Geller´. Well, they should be suspicious. We’ve all been cheated big time.” – Mark Maher, Helsinki Finland, May 2010.
Image: DUNKELHEIT VI 2009 29 x 29 x 35 cm metal coated fiberglass edition 3 + AP.
Photographer: Jani Mahkonen
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source: jirigeller

Like an anarchist who has studied every stitch and fold of the banker’s suit, Jiri Geller models and subverts the iconic forms of contemporary culture with vengeful precision.

While – not inaccurately – self-defining as “an outsider, a punk rocker”, Geller is also the rare Finnish artist who has both managed to stay close to Finnish aesthetic strengths and traditions and also detonate his own unique brand of post-national, mind-fucker nihilism.

As a Finn, Geller’s work perfectly fits that grey Nordic outpost’s proud, tragic tradition. His sculptures are elemental and essential, fascinated with death and violence, critical of the fake and phony, and ever aware of just how dark the world can be.

But then, rather than being limited by his roots – or in denial of them, Geller keeps to this impeccable conceptual framework, and takes it global.

While never repeating himself, Geller targets the same territory again and again to explore the idea that what in our modern world is deemed solid, permanent and valuable is in fact melting, suspect, and utterly transitory.

Geller’s objects offer meaning despite their solidity and materiality. A pessimistic yet playful – at times quite profound – energy flows through them: escalators connect one to nowhere; fiberglass tsunamis promise leisure sport and/or death by flood; ice cream cones sit frozen in mid-melt next to exquisite skulls that melt and drip like butterscotch candies in the sun.

It’s rare to see such playfulness and heaviness seamlessly combined in the same artistic vision: Geller’s balloon fabrications radiate all the lighthearted joy of portraits of children…who have recently died. And he has constructed a video game control module possibly intended to burn you alive.

But if Geller’s all sharp knives, dark jest and nihilist prankster, what’s with a name linked to that slightly dated globe trotting charlatan asshole – Uri Geller? Jiri explains:

“Uri is friends with Michael Jackson – that is cool. And both Uri and I do tricks for a living. I like the way that people get suspicious when thinking they might be being cheated. Like: ´Could this guy’s name really be Jiri Geller´. Well, they should be suspicious. We’ve all been cheated big time.”

– Mark Maher, Helsinki Finland, May 2010
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source: fubiz.net

L’artiste Jiri Geller apporte une touche intéressante dans l’art et le pop-surréalisme avec ces sculptures impliquant l’image de la culture populaire. Des oeuvres fabriquées artisanalement, avec l’utilisation par exemple de matériaux lourds juxtaposés avec des objets en apesanteur.
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source: andyrodriguesartworld

O artista finlandês Jiri Geller produz esculturas que são realmente incríveis, pois ele consegue institucionalizar o universo pop de maneira expressiva em uma estética com bastante niilismo.(* http://pt.wikipedia.org/wiki/Niilismo) Suas esculturas são inquisitoras e mostram um fascínio com a morte e a violência, com um tom crítico muito original. Geller explora na arte a idéia de que nosso mundo moderno é considerado sólido, permanente e valioso. Eu diria que ele cria uma imagem forte com um olhar que nos indica o suspeito e o totalmente transitório pelos ícones criados. Usando a fibra de vidro como estrutura seu trabalho é requintado, divertido e inunda os nossos olhos e nos faz pensar.
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source: etodayru

Жири Геллер (Jiri Geller) родился в 1970 году в Финляндии. В 1994 году окончил Институт Дизайна города Лахти. Создает скульптуры в стиле “кислотный Дисней”.
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source: kabytes

Suele decirse que para criticar algo, es mejor conocerlo en profundidad, de esta forma uno se asegura evitar el prejuicio. En este caso, Jiri Geller es un escultor, que basa toda su obra en la minuciosidad de las formas de iconos culturales clásicos.

Cualquiera diría que se ensaña con Disney, pero la realidad es que la espectacular precisión lograda, muestra un vasto conocimiento y observación de cada uno de los personajes que se dispuso a mostrar, manipular y matar.