text and image r.v.
At this moment an increasing part of Amsterdam seems to transform into a construction site and as a result the city gets flooded with scaffolding cloth and fencing, more often then not covered with commercial communication. The 60 Layers of Cake Foundation seized this special opportunity for the initiation of the ‘Façade’-project. An art project whereby renowned artists have been asked to “make a special work for a specific (construction) location”. This “concealing art” and also reaction to the dominating advertisements in public space is exhibited throughout the whole city. For instance is on Herengracht 249 until August 15 the work ‘Supreme Territory, Glorious Building’ of Persijn Broersen and Margit Lukács to be seen. On scaffolding cloth has an archetypical image of a mountain top been printed, with at the bottom of this image a from the back portrayed male figure with a prominent blue jacket. This depicted constellation of course directly brings to mind the Romantic painting “Der Wanderer über dem Nebelmeer” of Caspar David Friedrich. A comparable Romantic reference is the deviating choice of clothing, that is to the outfit of the main character from the first Romantic novel in history; Goethe’s ‘Die Leiden des jungen Werthers’. On closer study of Broersen and Lukács oeuvre this work appears to connect with a previous series of work, in which a parallel is drawn between Romanticism, which formed a reaction to the Industrial Revolution, and the in a rapidly changing economic and cultural situation living younger Chinese generation. Further more appears the by Goethe described blue jacket in this new version to be part of Chanel’s fall 2009 Shanghai Collection. Designed around the idea of an imagined, revolutionary China which Coco Chanel always dreamed of but never visited. Broersen and Lukács show with this work among other things how reality, (mass)media and fiction are strongly intertwined. The choice for letting exactly this duo design a scaffolding cloth is therefor certainly appropriate. The protagonist’s lacking of mountain climbing equipment as well recalls the world of advertisements, as an utter Romantic sense of uprootedness. The restyled Mao jacket thereby an apt symbol for the into an authoritarian capitalism reformed communistic planned economy of the modern China.