The exhibition explores criticism of everyday rituals and comes to this gallery for the first time to bring to light the questioning of the structures and roles of the artist (1954-2012) within society, through different media.
This series examines Kelley’s conception of art, defined as “a dysfunctional reality.”
The art gallery dedicates a posthumous space to the transgressive creation of this artist, who focused his work on the world around us and then turned the public into a critical entity, which had to search for the meaning of his work and question it in a different context. explained the international art curator of the Tate Modern, Fontán Morán.
Photography, painting, multimedia content, even textiles were Kelley’s vehicles of expression.
He had great interest in analyzing the stage of adolescence as dysfunctional adults, who show the truth in one way, do not care about social norms, and think that art should be the same, said Morán spbre Kelley.
He was very attracted to role-playing games, explained the specialist. This dysfunction can be observed in different rooms in which the exhibition is divided into: “Half Man”, “Monkey Island” or “Role Playing Games”, where subversion is explored.
With his way of making art he created a certain type of confusion, he altered what was taken for granted, Morán noted.
He made compositions with stuffed toys, tapestries written with profanity or history books with graffiti, all of which come to life in the exhibition.
Throughout his career he continued with this deconstruction of the created culture, subjects being horror movies or the Halloween celebration itself, the expert concluded.
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