"Madonna" is already here.
The female "vampyre" too.
And the "kiss" as well as the "scream" in a print version anyway.
Sixty masterpieces by Edvard Munch from the museum that was dedicated to him and opened last autumn in Oslo (FAZ October 21, 2021), but also from Texas, New York and other parts of the world, once again show the breath-taking modernity of the in Paris, Berlin, Vienna and many other places of Norwegian painting.
As if this wasn't opulent enough, Vienna allows key contemporary artists and, with the exception of Warhol, still living artists to confront Munch: Georg Baselitz, Miriam Cahn, Peter Doig, Marlene Dumas, Tracey Emin, Jasper Johns and Warhol, of course, each have their own halls , Emin and Warhol even two.
It is an artist
Stefan Trinks
Editor in the Feuilleton.
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Munch's influence is most obvious in the paintings of the Scotsman Doig, who painted in the Caribbean.
If nature was the decisive factor for Munch, who often let the paintings storm outdoors for days and thus included sun, snow and rain in the creative process, this is all the more true for Doig.
As in the former mercury lake of Bitterfeld, the colors of the “Echo Lake” shimmer in a highly toxic manner;
everything in its color lakes threatens to be decomposed before long.
But the typical traces of the merciless course of time that Munch introduced to art more than a hundred years ago are not only found in water.
On the shore of Doig's "Echo Lake," a policeman shouts into space with the gesture of Munch's "Scream," hoping for the reaction of a missing person - or waiting there in eternity for Godot.
The footsteps in Munch’s incredibly eerie “Autumn in the Elm Forest” from 1919 echo again and again in a similarly godforsaken manner. The viewer’s eye sinks here into the loamy yellow and streaky subsoil of the ravine, stumbles over snake-like wind roots in the dense jungle or is whipped from behind by the branches of those with theirs Poor humanoid elm.
Munch's enchanted trees can often be found at Doig.
That such stings in the eye helped Baselitz and Jasper Johns out of a painterly crisis in 1976 in “Savarin” and “Corpse and Mirror” the detail of Munch's paint can full of brushes with the razor-sharp abstract wallpaper pattern Rorschach test behind it in red, yellow and blue and a Arm enlarged in Stone Age painting style underneath is known to many.
Also that Tracey Emin screams her heart out for her aborted children in her video “Homage to Edvard Munch and all my dead children” and makes herself naked and vulnerable in an embryonic position on Åsgårdstrand, which Munch often painted.
Miriam Cahn's "Madonna" is just as vulnerable and naked, and she would never deny her closeness to Munch's disabled.
For most, however, the dialogue with Munch in Marlene Dumas comes as a complete surprise.
It is the melting bodies that, for example in Dumas' "Alien", tie in with Munch's "puberty", which hangs only a few meters away, and it is the complete overstimulation, also through color, especially in the faces, that express external suffering as well as internal suffering in oneself able to pack into an intuitively perceptible form.
Dumas' naked warriors and her "Madonna" from 1998 are as lost in the world in the Albertina as Munch's unredeemed.
The contaminated, radiant "Nuclear Family" from 2013 is reminiscent of his expressive experimentation with the most unhealthy colors in the complexion.