Art@Site Sarah Lucas Deep Cream Maradona Scandinavia

Sarah Lucas


Deep Cream Maradona

Ekebergparken, Oslo
the crocodile inside us
Are you prude? Than, don’t look at this picture.
Even if you're not prude, you will be disturbed by this artwork. You see a bosom and a phallus. There is more to it. You will see two enormous breasts. And the penis sticks out, more than humansized tall.
Apparently, the fear and the primary of human is deep inside us. It has been said long ago in literature that still the crocodile is inside us. This artwork gives us the experience.
We see a human with legs spread apart, with the penis and the breasts as the focal point. This human is distinctly excited.
It's weird that the shoulders and the arms are resting on the ground, now it seems that the human is resting.
So this human has extremes: excited and resting.
The face and the breast are made of balloons. I can see the knit, the closure of the balloon. Do I hear here a critical note? Is Sarah Lucas saying that it is cheap to focus on the primary focus?
The penis looks like a hand-made sausages, and I find this exciting. The material of the upper body of the human seems to be dragged out, and this is repulsive to me. The color and the material are artificial. And with all this, Deep Cream Maradona by Sarah Lucas is raising a lot of questions and intense emotions.
By Theo,

de krokodil in ons
Bent u preuts? Kijk dan niet naar dit beeld.
Zelfs als je niet preuts bent, schrik je van dit kunstwerk. Je ziet een boezem en een fallus. Meer dan dat. Je ziet twee bijzonder grote borsten. En de penis steekt méér dan menshoog fier overeind.
Blijkbaar zit de schrik en het primaire van de mens héél diep. In de literatuur wordt al lang gezegd dat de krokodil nog steeds in ons huist. Dit kunstwerk doet het ons ervaren.
Wij zien een mens die de benen gespreid heeft, met de penis en de borsten als middelpunt. Deze mens is duidelijk opgewonden.
Het is vreemd dat de schouders en de armen op de grond rusten; nu lijkt de mens juist ontspannen.
Deze mens kent blijkbaar extremen: opgewonden en ontspanning.
Het gezicht en de borsten worden gevormd door ballonnen. Ik zie de knoop, de sluiting van een ballon. Hoor ik hier een kritische noot? Bedoelt Sarah Lucas hiermee dat het goedkoop is om op het primaire te focussen?
Dat de penis lijkt op een handgemaakte worst, vind ik opwindend. Het materiaal lijkt bij het bovenlichaam uiteen getrokken en dit vindt ik afstotend. De kleur en het materiaal zijn kunstmatig. En daarmee roept Deep Cream Maradona van Sarah Lucas veel vragen en ook heftige emoties op.
Door Theo,
Sarah Lucas : I take licence to exaggerate a bit, especially in the nob department. It’s more like Man Who Fell to Earth.
The sculpture got its name from the colour it is painted in and from the Argentinian football player Diego Maradona. Even so, it is ambiguous. It is part male, part maypole, with its enormous phallos and arched body.
Sarah Lucas (born 1962) is one of Britain’s most significant artists. She is considered a part of Young British Artists. The group emerged in 1988. They differed from the rest of the art world in their use of ”shock-tactics” and their attitude that was both oppositional and entrepreneurial. Other members were Damien Hirst, Gary Hume and Tracy Emin.
Sarah Lucas art consists of installation, photography and sculpture. In her sculptures she often uses the human body as base when she deals with themes such as sex, life and death. Her art is playful, with irony and humour.
In 2015 she represented Britain at the Venice Biennale with the exhibition I Scream Daddio. The parks sculpture originates from this. Deep Cream Maradona is Lucas’ largest sculpture so far. It turns the tradition of the reclining female nude on it’s head with the male figure.
Lucas specialises in challenging gender stereotypes through a play on conventions of representation and framing, specifically through the language and media of popular culture.
It channels the themes of eroticism, abjection, and attitudinizing that have recurred throughout her art.
Champagne Maradona adds a new shade of yellow to those of the Venice pair. Named after the legendary Argentine footballer, the figure reclines on the ground while an enormous phallus soars into the air – part man, part maypole, part praying mantis. The work began as a handmade model in Lucas’s customary materials – tights, wire, and kapok – before being transformed into a cast.
Sarah Lucas: ‘I have several penises, actually’
Lucas’s exhibition at the Venice Biennale also starts with a penis – one belonging to an arched-back banana-yellow figure waving his three-metre member to the sky. He is, she says, Maradona. In a characteristic piece of wordplay, she toyed with making a Madonna to go with him. “He is the hand of God. Or the divine spark. I like the divine spark and the hand of God and Maradona being a male counterpart to Madonna. And I like being a bit blokey because I don’t like to keep the blokes entirely out of it.”
She made the first Maradona sculpture while working in Mexico. “Originally, it was code for Diego Rivera [the Mexican artist and husband of Frida Kahlo]. Who was in fact a lesbian. At least according to Frida, who said he had the most fantastic tits and defied any woman not to fancy him.” She laughs her creaky-door laugh again. “I love mixing up the sexes. I love that you can never get to the bottom of it. Having a penis is such a categoric thing, and we can live under its tyranny, but I enjoy the ambiguity.”
In a book of her work, Sarah Lucas: After 2005, Before 2012, she lists the reasons why she makes penises: “appropriation, because I don’t have one; voodoo; economics; totemism; they’re a convenient size for the lap; fetishism; compact power; Dad; why make the whole bloke?; gents; gnomey; because you don’t see them on display much; for religious reasons having to do with the spark.” I remind her of some of this, remembering the line “I don’t have one”. She laughs. “I’ve got several, actually.”
Sarah Lucas (born 1962) is an English artist. She is part of the generation of Young British Artists who emerged during the 1990s. Her works frequently employ visual puns and bawdy humour by incorporating photography, collage and found objects.
Lucas frequently employs a critical humor in her work in order to question conventions and highlighting the absurdity of the everyday. One of Lucas’ most famous works Two Fried Eggs and Kebab, parodies the traditional still life and evokes similarities between itself and feminist Judy Chicago’s infamous piece The Dinner Party. Feminist reviews often describe Lucas as attempting to add female artists into the canon of art history through her analytical work that predominantly discusses the female body and voyeurism.
Lucas frequently appropriates masculine constructions to confront and dissect their nature.[16] Her pieces represent a fantastical world and playfully employs unrealistic ideals to unearth obscene paradoxes created by those very constructions. Specifically, she is concerned with the casual misogyny of everyday life and employs the conventions of middle class or ‘street’ language to enact her concepts. Her appropriation of masculine symbols such as the phallic banana or ‘fried eggs’ in conjunction with her fearless and dominating gaze, takes ‘female work’ out of the feminine sphere and disrupts the patriarchal power dynamic of the gaze. Works such as The old in Out (1988) is a reference to Marcel Duchamp’s Fountain (1917) and Two Fried Eggs and Kebab (1992) has been linked to Édouard Manet ’s Olympia (1863). While Lucas continues the artistic legacy of feminist artists such as Hannah Wilke, Cindy Sherman, and Rachel Whiteread, her visual language empties femininity of meaning and thus removes her from such a clear ‘feminist art’ title.
Sexuality is not apparent in her works and a lack of association with morality leaves viewers at the free will of her humorous narratives. Lucas takes on the role as a source of reflecting sexism, but not overtly commenting on it. She has stated that, “I am not trying to solve the problem. I’m exploring the moral dilemma by incorporating it”. Her works are both literal and conceptual evidence of Lucas searching for meaning. Whether it is through recognizable forms or her own mythologized fantasies, her ideas constantly build and transform. She appears to never be satisfied with her outcome and scours every imaginable medium for an outlet that is fitting. To her, the artworks she make “…carry on talking and thinking with other people”. Lucas’s practice is then not compulsive ramblings or automatic depictions, but a conscious yearning for a personal sense of happiness.