point-remix or Duchamp and the Cleaner Having Sex, 300x250 cm, 2007, Oil on canvas

point-remix or Duchamp and the Cleaner Having Sex, 300x250 cm, 2007, Oil on canvas

point-remix or Duchamp and the Cleaner Having Sex, 300x250 cm, 2007, Oil on canvas: Detail. Georg Baselitz "Remix" Solo Exhibition: On view at Thaddaeus Ropac Gallery from February 20 to March 29. Georg Baselitz (born 1938) is one of the most representative artists of German Neo-Expressionism, famous for his disturbing, provocative, and distinctive inverted paintings that challenge the viewer's perception. To mark the painter's 70th birthday this year, Thaddaeus Ropac Gallery presents "Remix," a new series created by Baselitz since 2005. In this new series, Georg Baselitz clearly reinterprets works painted in the early 1960s within a contemporary context, starting with the challenging 1963 painting "Harassment of the Ugly Male Genitals." Over recent years, the artist has focused on reinterpreting past works with greater diversity; all paintings are larger than before, creating an unprecedented visual shock and boundless vitality through more defined and mature brushstrokes and explosive colors. As Baselitz states, "I borrow the concept of musical 'Remix.' The important thing is not diversification, but giving new vitality and a new appearance." In the "Remix" series, he undertakes a particularly variant transformation of past images, turning heavy historical imagery into clear motifs, updating the perspective of painting and endowing it with a new physical form, exploring its possibilities through his most mature artistic vision and thought. The "Remix" series consists of 16 works, inspired by an erotic print titled "Duchamp and the Cleaner" when exhibited at the Caen Museum in Normandy, France, depicting an old man (a four-unlike Duchamp) having sex with a cleaner. The vigorous painter does not lose the provocation and satire of his youth. Within sensual forms and explosive colors, he boldly displays these provocative images. For a painter, such positive satire toward Duchamp is understandable, seemingly making a bold declaration that painting remains painting regardless of whether Duchamp can be locked up to have sex, which is irrelevant or merely an obvious metaphor. The artist says, "No, past pictures (and concepts) have become unbound, allowing me only to be shocked while viewing them. However, I have forgotten everything about them completely."