Post Pop East matches West review – an exhibition beyond style

Post Pop East matches West review – an exhibition beyond style

Alexander Kosolapov’s Hero, Leader, Jesus at the Post Pop East Meets West event at the Saatchi Gallery in London. Photograph Rex

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We f you felt envious regarding the French with regards to their big art controversy associated with the autumn over the Los Angeleno provocateur Paul McCarthy’s “butt Chico eros escort plug” sculpture in the traditional heart of Paris, here’s your chance to be appalled.

McCarthy’s 1993 masterpiece Spaghetti Man is just a lifesize statue with a bunny head and a penis that curls in a tube that is pasta metres very long right into a heap on the ground. It’s a male fantasy made ridiculous, a phallic paradox. His cock can be so long it’s useless, like spaghetti. I felt something melt inside me personally.

Post Pop East Meets West, in which McCarthy’s character that is grotesque a natural house, can be an event beyond flavor. Its packed with trash, kitsch, commercialism and cynicism – and that’s just the g d stuff. Andres Serrano’s Piss Christ glows in all its mystical obscenity beside the same artist’s powerful Black Supper, where a tableau of Leonardo’s Last dinner is drowned in bubbles and also the faces become darkly spectral.

Bunny strange … Paul McCarthy’s Spaghetti Man, 1993. Photograph Rex

Such surprise art for the 1980s and 90s is hardly ever shown in Britain’s public art galleries nowadays. They ch se video clip installations and lo-fi ruminations on identification, protest and theory that is marxist.

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