ART

APOCALYPSE AND MILLENIALISM

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APOCALYPSE AND MILLENIALISM Introduction As the societies embrace the turn of a millennium, there is, historically, a perceived notion that this is a portentous time- a time of jubilation, may be, but on equal grounds, and may be more persistently, a time of apprehension. Five hundred year cycles system appears to be as significant as the thousand year cycles. Discussion In Thomas Schutte’s Efficiency Men (2005), there are three enormous ghostly figures of men. These figures are standing on thin spirals of steel and are covered by heavy dark blankets from which emerge perturbing faces modeled in colored silicon. Resembling grotesque figures in costume, these effigies of corrupt, scandal ridden contemporary society slope in a sinister fashion across the room of exhibition; they might be well an embodiment of the death that is elicited in the artwork of paintings on the walls. Mysterious and enigmatic, are a combination of artifice and superficiality, urging us to get involved more directly with the reality of our everyday world. This is the only way in which the dialogue between art and society can become truly meaningful (Dogana, 2014). This artwork by Schutte, explicitly displays the hopelessness and devastation of humanity which is evoked probably by the thoughts and imaginations of apocalyptic events. The human race is doomed and there no expressed optimism in the aftermath. The apocalypse comes to mean the predicted threat of destruction and how it is resolved and post-apocalypse, the aftermath, the avenues in which humanity has withstood and adapted following a less-than-complete disaster (Mitchell, 2001). On the other hand, we can catalogue the various end of the world events according to etiology of each particular apocalypse. the questions to the nature of apocalypse ring in our minds whether they are religious or supernatural, whether the threat (or the hope) is extraterrestrial, not supernatural, whether it is a product of human science that might have gone beyond the boundaries of our moral or technological control, whether it is naturally occurring apocalypse, or rhythmic purging, or may be, that takes the planet back into balance (Wessinger, 2011). Some of the aspects of millennialism are technophobia. Schutte offers potent images of objects in his artwork as the banal abundance condensed into aggressive skeletons or disturbing paintings. The debacle over the millennium Bug, when we thought that planes would fall from the sky as all computers failed in perfect synchrony as the clocks struck at midnight, did fewer efforts to relief millennial anxieties over the machine. A contemplation of Hirst’s image of human skull: Damien Hirst in the year 2007 created again a human skull in platinum and diamonds and gave it a title ‘For the Love of God’. He targeted to ‘put melancholy at distance’ by way of the designing of an image that symbolically represents Death but that is close to immortality shown by the durability of the material he used in creating it (Hirst, 2007). Hisrt has been depicted with his skull in various poses, embodying the characteristic aesthetics of a memento mori, while at the same time as he amuses with the typical gesture of Hamlet. This is such a simple gesture that it becomes instantly not easy to forget (Homem, 2012) . Stephen Marche suggests this in an article for Esquire, “Taking the glittering of the work’s success is a combination of the oldest truths and the latest superficialities. The diamond skull is both an expensive version of the mall rat’s skull-covered Vans and the inheritor of the grand tradition of the Christian memento mori. A kindof Hamlet with Yorick’s skull in the food court” (Marche, 2008). These striking illustrations, in conclusion, indicate that Death can actually make one look like a star- inferring that those who might have gone through a close contact with death and in so doing become aware of its immediacy can in some way become heroes or myths (Warhol, 2000). Hamlet continues to be one, and Yorick will always be ‘a fellow of infinite jest’ (Homem, 2012). This artwork abates the fear and anxiety in the thought of apocalypse and millennialism. Damien Hirst was a significant chorus-master in millennial merchandise, marketing dread with unmatched success. His most visual and vapid memento mori, For The Love of God, is such exaggerated that it risks immediate deflation. It has released a lot of healthy parody, that includes Eugenio Merino’s acerbic but relevant For The Love of Gold . Hirst has of course positioned himself very skillfully beyond specification in his willfully uncultured corruptions of himself and his subject, and may be here harbors a truly horrible vacuum, and emptied-out millennialism, the void eloquently and insistently gestured through a culture of excess. The Damien’s decorative, luminous and expensive artwork has no match of the art incorporating human skull. The platinum cast of an eighteenth-century skull. Holes were drilled over the platinum cast and 8,601 diamonds filled the surface of the cast. The teeth were original and only one was missing. The human skull used for the base of the work was purchased from Get Stuffed, a taxidermy place in Islington. It is indeed thought to belong to a European who lived between 1720 and 1810 (Fok, 2013). In fact the Dutch art historian Fuchs Rudi views the work as truly “a glorious intense victory over death- at least over the temporal, physical and ugly aspect of it: rotting decay” (Rudi, 2007). Rudi continues to say that the intense luminosity of the work is truly scintillating object of endless light which does not even look dead (Rudi, 2007). The original idea of storing two skulls together in the same room of the exhibition in White Cube in 2007 was altered at the end. From an interview with Hirst, it is noted that the two skulls work together: one is termed The Fear of Death whereas the other For the Love of God. They are the most negative and he most optimistic. It is death rules over victory and victory rules over death. ( White Cube 2011). Hirst painted a true skull black and stuck it with flies so as to create The fear of Death. He, however, found the diamond skull so complete that he chose to take away the fly skull. Whereas the diamond skull has become immediately an admiration in the today’s art world, the fly skull remains homeless as suggested by Hirst (Hirst, 2013). Though the diamond skull is inevitably an exquisite artwork that has overwhelmed the onlookers to have a deeper reflection on the idea of life and death. The tactile material of the painted-black skull and real flies stuck on it would move the viewers to see and feel death in a more sensual manner (Fok, 2013). For Friedrich Kunath artwork, he has a variety of drawing styles which are arranged in layers onto colorful watercolor washes, usually alongside handwritten text, cartoons and doodles. Throughout his art, he explores themes such as of love, hope, despair and vulnerability that are intertwined with tragicomic pathos and dreams of possibilities. These works are majorly about human beings trying to find their way in the world, lost souls making explorations of the human situation. The male figures, non-specific and oftentimes alone are caricatures that can evoke sympathy or even empathy, becoming cartoons of emotion. “ I heard I was in town bears the text ‘over-lonely and under-kissed’ whilst Let those I don’t care days begin” depicts a seated man leaning on a staff beneath a tree at sunset wondering about his life. Particularly, the middle-aged male protagonist questioning how his life has been continually reappears, showing what has happened before and what waits ahead. There are regrets and aspirations as destiny unfolds in Younger Men Grow Older a rich and many-layered emotional journey and the psychedic past (White Cube, 2011). One could initially assume that the lone figure, amongst the visual appearance, appears frequently in Kunath’s work tirelessly searching for his heart and home is self-reflecting. Really, it is next to certainty of a longing for human connection and unveiling, a comment on the societal values and a longing for a comeback to a more simplified way of living and certain purity. Sharing loneliness can be beautiful concerning the life journey of an individual- people struggling to define their lives. There is yet resilience displayed by the characters- this is noted in their walking together, keep moving on and are presently ready to share their tale. We witness playful optimism against what is ostensibly mid-life crisis. They are shades against sunlight a visual representation of the vulnerability of man against the widespread of the world and all that it comes with it (White Cube, 2011). Friedrich Kunath uses a variety of ubiquitous media to explore themes around melancholy, existential nature of daily experience. His artwork has quick yet quizzical charge, raising questions about the obvious. Kunath has the ablity to imbue approachable, common materials with conceptual heft always lacing his treatment of quotidian pathos with a jester-like humor. In an untitled artwork, he constructs an exaggerated, vaudeville-style mask of sadness using portions that make it whole: a bird resting on a branch, windows filled with snow, a statute that is upside down at sunset, swaying branches, a black giant poodle hanging its head, a knotted rainbow. A symbolic single complete tear and a long staircase fall from the eyes of the tragicomic blonde harlequin, having its diamonds transported to his cheeks (Saatchi, 2013). The artisst have been aroused to express their feelings and views concerning the apocalypse and millennialism using their artistic work. They believe that the religious suppositions and especially those termed as cults may misguide by predicting wrongly on various apocalyptic catastrophes. Friedrich in his The End of the World is Bigger Than Love, 2012, he draws a seal using acrylic on a shaped foam and acrylic resin with steel armature polygon: oil pastel on carbon paper mounted on plywood to artistically express his sentiments about the apocalypse and millennialism. The seal is overburdened by the polygon. It tries to balance the polygon with its mouth an almost impossible task. This depicts the notion that, it is too much of unbearable burden for man to centralize his thoughts more on the apocalyptic events said to mark the end of the world. When man focuses much on the apocalypse, he is drained of love that he should be having for himself and his fellows. The popular cultural apocalypse provides us with four necessary categories of resolution: millennial hopes are achieved and a bright future unfolds; apocalypse is rejected and we get back to normalcy; apocalypse is lingered and we proceed to a state of spiraled or renewed vigilance; or apocalypse is realized, and we have the possibility of either extinction or of life in a post-apocalyptic nightmare. If popular culture forwards the apocalyptic nightmares more frequently than the millennial dreams, one of the important questions for researches to explore extensively is , why? Apart from the mass media axiom that ‘ If it bleeds , it leads,’ why is there so much fascination with the danger than the promise of safety? Is there supply-side answer-apocalypse dominates due to media producers who overemphasize the negative- or a demand-side reason being that the media producers only provide the audience with what gone experience indicates what consumers want? Whereas either arguments singly is a fallacy of limited alternatives, however how much they are minimized, or one is given an upper hand than the other- three basic principles undermine the approach to the future (Wessinger,2011). Foremost, the human life is fragile. The human are susceptible and at individual level, it is remarkably easy to kill. They depend on their science, their weaponry, and not infrequently on their gods, for surviving in the extreme rudimentary situations. In fact they are not well equipped to survive except from the tools they create to aid in survival. So their relation to the future, both at individual level and collectively, is indeed ambivalent at best. They aspire for the best, but the aspirations are always dependent on the reality of their susceptibility and their awareness of such reality (Wessinger, 2011) In addition, the human technology is fickle. It is likened to double-edged sword, and they are aware of that too. While not infrequently fit for cutting down those that which pose threat to their survival, it can quickly change into that which threatens their survival. Each new technological era forges its own version of the double-edge: nuclear as form of energy comes with both cancer treatment and radiation poisoning, whereas computer technology gives increased precision at the expense of human control. In each scenario, the brains that separate human beings from other creatures also threaten separate us.Moreover, human spirit is believed to be strong, basing on some narratives, it is indomitable. In apocalyptic narratives, this spirit is most clearly represented in the heroes and heroines on whom they are admonished to focus and with whom they are encouraged to identify with. At times, superheroes, at times saviors, they call upon them to save them from destruction, to turn the surety of apocalypse into the possibility of survival, if not necessarily Millennium (Wssinger, 2011) Though the nightmare appears to be more popular, it does promises dreams within it. In popular culture, since so few apocalyptic scenarios really end in total destruction, this spells out to an undermining belief in the possibility of the future (Wessinger,2011) Conclusion Art is very essential component of human life. It employs the use of simplified media to convey very important messages among in different societies. Such media include broad categories which include fine arts and performing arts. The fine arts include sculpture work, carvings, paintings and drawings among others. The performing arts on the other hand include drama, songs, plays among others. Artists usually select their mode of conveying their feelings carefully so as to do so effectively and to their satisfaction as well as the satisfaction of the audience or spectators. The subject or message to be conveyed often determines the media to be selected (Cartiere et al 2008). To effectively convey their sentiments the artists in the above discussions used paintings and sculpture work to pass their feelings and opinions across (Arthur,1983). Thomas Schutte criticizes the belief in apocalypse by use of sculpture. In his Efficiency Men, he draws the attention of the onlookers to think deeper and avoid being in disturbing apocalyptic mood. This artwork aims at arousing the thinking of men to perceive the reality of what happens in their day to day living. In is not befitting at all for humanity to be burdened by the thoughts of apocalypse. The artwork of Damien Hisrt is strikingly conveying the sentiment of immortality of life. He employs the human skull to express this sentiment in his The Love For God. He uses elements such as diamond to imply to the eternity of the human life. This in essence seeks to ward off any fear and anxiety that may be developed by those who so deeply think of the apocalypse and Millennialism to the extent of hurting their life. The popular knowledge that apocalypse is great threat to those living on earth is criticized by Hirst. Instead he gives a solid reason to be happy and avoid gloomy expressions and feelings of hopelessness which does great harm than benefit to those who unnecessarily harbor such thoughts of despair. Friedrich Kuntah is very careful in his artwork to achieve the desired end. By use of a seal to express his thoughts, he shows the too much burden to bear when the human mind focuses a lot on the apocalyptic catastrophe and thoughts of millennialism. The burden and harm to the health of those distressed of such thoughts are too much even to be imagined of. The polygon is placed on the weak part of the seal to emphasize this notion. It is more of benefit to discard such notions and move on with normal life, many options are presented to man to specialize in. man is prepared to face life challenges in the period of pre-apocalypse and post-apocalypse. In is indeed needless to suffer greatly by thinking on such apocalyptic catastrophe and yet there is nothing can be done either to prevent or to embrace it. References 1, . White Cube whitecube.com/news/friedrich_kunath_at_modern_art_oxford/‎ 2. 1.Wessinger, C., 2011. The Oxford handbook of millennialism. Oxford, Oxford University Press. P615 2. Fok, S.-H. S., 2013. Life and death: art and the body in contemporary China 3.George, Adrian (ed.), 2003. Art, Lies and Videotape: Exposing Performance (Liverpool: Tate,) 4. Pallazo Grassi, http://www.palazzograssi.it/en/artist/thomas-schutte-marlene-dumas 5.Marche S., 2008. Have You Been Noticing a Lot of Skulls Lately' Esquire, 150. No1. n.p. 6. Homem, R. C., 2012. Relational designs in literature and the arts: page and stage, canvas and screen. Amsterdam [etc.], Rodopi. 7. Warhol A., 2000. Afactory (Bilbao: Guggenheim), n.p. 8. Hirst D., 2007. for the love of God THE making of diamond skull (london: other criteria/ white Cube) 9. White Cube whitecube.com/news/friedrich_kunath_at_modern_art_oxford/‎ 10. Aesthetica Magazine's blog http://www.aestheticamagazine.com/blog/the-most-beautiful-world-in-the-world-friedrich- kunath-white-cube-london/g http://www.saatchigallery.com/artists/friedrich_kunath_articles.htm

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