With nuanced irony, visitors of the gallery are invited by Georg Herold, to follow the gesticulating sign language of the video installations up the staircase. Having grown up in the GDR, Herold reacts somewhat allergic to symbols and, in unison with his virtual doubles, he marches satirically against ideologies. A running theme in his work seems to be the demythologisation of tradition and symbolism – an attitude that is almost diametrically opposed to Beuys’ use of symbolism, despite all the noticeable parallels.
Video merges into sculpture and installation. Made of wooden slats, bricks and other everyday materials, these may seem improvised at first glance. However, under closer inspection and in combination with the works’ titles, the pieces reveal themselves to be full of ruthless honesty, wit and moments of surprise, which prevent the mere consumption of Herold’s work. A knitted German flag hangs boldly above the president’s desk, like an irritating spiderweb, whilst in the neighbouring room, wooden slats transform into a puppet- like dancer, covered in fabric and elegantly stretching toward the ceiling.
Herold’s famous caviar paintings are also on display: using one of the most expensive materials, Herold creates a pointed oxymoron. Each individual egg is numbered – a loving gesture that disenchants luxury and excess while at the same time using subtle humour to question social symbols and the class system with its own emblem.
