Development aid, i.e., retro-racism, is the heroin of postcolonialism, detail from the painting "Media Democracy - Rendezvous of Truth" by Sebastian Bieniek.

In the detail from Sebastian Bieniek's painting "Media Democracy - Rendezvous of Truth," a woman with a severed hand is depicted. The woman is intentionally not portrayed with a specific skin color, as the artist wishes to avoid retroracism, namely the association of exploitation with a particular skin color. Exploitation knows no skin color, only social classes and castes. There are exploiters of every skin color, just as there are exploited of every skin color. Therefore, associating the class of the exploited with a specific skin color, just like any skin color quotas, is a form of tacit acceptance of racism, which Bieniek calls retroracism.
The principle of racism through reverse racism, in the form of forced liberation—that is, liberation through labels that is in reality subjugation—is also what the artist sees in development... www.BIENIEK.at

36

0

🍕💣💥NOW this video MAKES more SENSE than ever before!

"Santa, Santa, Santa", performance by the artist Sebastian Bieniek, 2017 in VATICAN, home of the Pope, St. Peter's Square.

What does the artist want to say?

More: www.BIENIEK.at (check performances)

61

0

Follow me on TickTock
👉 tiktok.com/@bienieks

58

0

Media Libido and the Creation of Asexuality (Media and Sexuality in a State of Defenselessness), detail from the painting "Media Democracy - Rendezvous of Truth", by Sebastian Bieniek.

Where in the classical depiction of the Tree of Knowledge a red apple stands out from the green of the tree and is the object of desire, in Sebastian Bieniek's painting "Media Democracy - Rendezvous of Truth" the red acorn of a phallus appears, from which a serpentine branch of the tree converges. In Bieniek's painting, then - and one might almost ask: what else?- sexuality is the driving force of desire, and not, as in the biblical story, wisdom (and one might also ask: "what good is wisdom, anyway?"). One is almost tempted to think that Bieniek is writing, or rather painting, the real story, and that the biblical depiction is merely Bieniek's allegory of the true story. A truly remarkable perspective and twist, since art is normally known for allegorical representation, and ... More: https://www.bieniek.at/md

62

0

Anti-capitalism and Rambo in the temple of money

The “tree of knowledge” sprouting from the media seems to wind itself around people like a snake and capture them.

The three figures he began undergo a metamorphosis in three stages. In the first stage, the man is naked, idealized, but still as "God created" him. In the second stage, he is covered with dollar bills (money) that lie on him like a mask, overgrowing everything that once represented him. His face and his appearance are now only a representation of money. A red area rises around him, resembling a graphical representation of a stock market price chart. At first, the price rises, then it rises even more, and then, quite suddenly, it falls to zero, and there is nothing left—almost like in so many fairy tales where money suddenly transforms into stone or even excrement.

Behind him, further to the right, stands the third and final figure. The serpentine branch no longer winds around the person but, like the tip...

More: https://www.bieniek.at/md

61

0

Please follow „Media Democracy - Rendezvous of Truth“ by Sebastian Bieniek channel on youtube!

https://www.youtube.com/@MediaDemo

53

0

The context may answer the question. The detail of the face, composed of lines and dissolving like branches or liquid, is located in the lower left corner, right next to the signature, of Sebastian Bieniek's painting "Media Democracy - Rendezvous of Truth." Does media-induced manipulation dissolve our self-image, or does it even determine it?

If one were to believe the artist: yes. The individual, therefore, exists only nominally and merely as a label, as something unique, and reality is a deliberate standard created by the media and other sets of rules. Thus, the artist's view of human individuality coincides with his view of democracy. The artist sees both only as labels and not as reality.

More: https://www.bieniek.at/md

56

0

A weeping face dissolving into the dry sand of the desert, or just pareidolia, a face that has been misinterpreted?

The context may answer the question. The detail of the face, composed of lines and dissolving like branches or liquid, is located in the lower left corner, right next to the signature, of Sebastian Bieniek's painting "Media Democracy - Rendezvous of Truth." Does media-induced manipulation dissolve our self-image, or does it even determine it?

If one were to believe the artist: yes. The individual, therefore, exists only nominally and merely as a label, as something unique, and reality is a deliberate standard created by the media and other sets of rules. Thus, the artist's view of human individuality coincides with his view of democracy. The artist sees both only as labels and not as reality.

More: https://www.bieniek.at/md

51

0

Please follow me also on medium!

https://medium.com/@bieniek

60

0

„Media Democracy - Rendezvous of Truth,“ 120 x 150 cm. Oil on canvas, 1995. A media-critical painting by Sebastian Bieniek (born 1975). Berlin-based artist.

Signed on the front (lower right) and back. Titled on the back. Website: https://www.bieniek.at/m

81

1