Magazine article Artforum International

Zush

Magazine article Artforum International

Zush

Article excerpt

In the '70s and '80s, Zush showed widely not only in Spain but also internationally (for instance, in Documenta 6, 1977). More recently, he's distanced himself from public activity in museums and art spaces, primarily because of his ever-growing dedication to production and diffusion via computers and the Internet, endeavors in which he has been a pioneer. Although he has occasionally exhibited in museums and galleries since then, his name is now better known to young artists than his work. Still, like a number of other Spanish artists who emerged thirty years ago, Zush is a spiritual precursor for a generation of young Spanish artists who have in great part been inspired by Surrealism.

In 1968, Zush (born Alberto Porta in Barcelona in 1946) decided to break with the quotidian realm, creating a parallel world called Evrugo, a fictitious state for which he has invented his own currency, flag, alphabet, and so on. In this exhibition his refusal to live in the real world is staged by the reproduction within the museum of the artist's studio, which is not merely exhibited but actually used. The work is an attempt to show the global creation of a physical environment and the adoption of this as a work of art, in which every element exists in relation to and thanks to the conjuring of Zush the sorcerer. Like a child who's decided that he doesn't like reality--and there are other celebrated figures in twentieth-century culture who suffered this sort of Peter Pan Syndrome--Zush submerges himself in a reality strictly his own. This is why he tries to establish a personal Gesamtkunstwerk where not only concrete plastic creations matter (paintings, a drawing, photographs, objects, books, perfumes, mus ic, CD-ROMS, etc. …

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