The wait is over; barbarians are not only making an appearance but are advancing globally, signaling a post-factual age dominated by public falsehoods. Dana Schutz, born in 1976 in Cleveland and now based in Brooklyn, explores this phenomenon through her large-format oil paintings. Her latest works amplify the drastic nature of her earlier pieces, evoking comparisons to artists like Dix, Kirchner, Grosz, and Picasso. In "Fight in an Elevator 5," for example, a grim old man, baring his teeth as he opens the elevator door, holds a severed head while another lies on the ground. The horrific scene prompts speculation about the events that led to this moment. Yet, such representations seem almost tame compared to the graphic details shared on social media. While we may not immediately recall art-historical references, Schutz’s images compel us to seek them out, as we grapple with the unsettling reality of violence that transcends mere entertainment. The dark humor in her work serves as a reminder that the elevator of societal decay is in motion, leaving us to ponder whether it will ever come to a stop. Exhibition: CFA Contemporary Fine Arts Berlin, 17/9–29/10/2016.
