Tal R (Rosenzweig)
Adieu Interessant (Silver)
Tal R (Israeli/Danish, b. 1967): Adieu Interessant (Silver), 2005-2008. Mixed media, 98-7/16 x 98-13/16 inches (250 x 251 cm). Louisiana Museum of Modern Art, Humlebæk, Denmark. © Tal R. © This artwork may be protected by copyright. It is posted on the site in accordance with fair use principles.
“For me, drawing was the same as dreaming at night: you don’t decide what to dream about, you dream about what you need."
(Tal R)
'Tal R was born Tal Rosenzweig in Tel Aviv in 1967 to a Danish mother and Czechoslovakian Jewish father. Raised in Denmark, his childhood was defined by his family’s split identity: the orderly Scandinavian society of his maternal side contrasted with his father’s experience as a Holocaust survivor.
... The duality of Tal’s heritage is recognized in his work, which offers sensations both celebratory and sinister. Saturated color is weighted by shadow; café and street scenes, festooned and radiant, are simultaneously claustrophobic and labyrinthine. His subject matter is intentionally easy to describe, but meaning, as in dreams, is enigmatic. Tal works with a variety of media—collage, sculpture, installation, painting—and intuitively culls imagery from diverse sources. (He cites the Yiddish word kolbojnik—“leftovers"—as a loose definition for his process of gathering inspiration.) Historical and art historical references abound: threads of Expressionism, Fauvism, and Symbolism run throughout, as do nods to traditional Scandinavian art, Art Nouveau, and outsider or children’s art.' (© CHEIM & READ)
“For me, drawing was the same as dreaming at night: you don’t decide what to dream about, you dream about what you need."
(Tal R)
'Tal R was born Tal Rosenzweig in Tel Aviv in 1967 to a Danish mother and Czechoslovakian Jewish father. Raised in Denmark, his childhood was defined by his family’s split identity: the orderly Scandinavian society of his maternal side contrasted with his father’s experience as a Holocaust survivor.
... The duality of Tal’s heritage is recognized in his work, which offers sensations both celebratory and sinister. Saturated color is weighted by shadow; café and street scenes, festooned and radiant, are simultaneously claustrophobic and labyrinthine. His subject matter is intentionally easy to describe, but meaning, as in dreams, is enigmatic. Tal works with a variety of media—collage, sculpture, installation, painting—and intuitively culls imagery from diverse sources. (He cites the Yiddish word kolbojnik—“leftovers"—as a loose definition for his process of gathering inspiration.) Historical and art historical references abound: threads of Expressionism, Fauvism, and Symbolism run throughout, as do nods to traditional Scandinavian art, Art Nouveau, and outsider or children’s art.' (© CHEIM & READ)