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Yours, KOW

Tales of Lipstick and Virtue, 2013–2018

mixed media

The multidisciplinary work studies the socioeconomic framework of authenticity at the juncture of high and low cultures: hyperfeminine women in Albania and counterfeit textiles.

Are we using terms of fake or original to save the right of the author or the treasure of the natural person or are we supporting those already in power? How is intellctual property linked to the definitions of deceiption in the textile industry and our collective understanding of an authentic person? How have social-media trends accelerated the global distribution of cultural trends and the acessibilty outside the eurocentric &wealthy and does this implicate authenticity died a decade ago?

“The profession of almost every man, even that of the artist, begins with hypocrisy,” Nietzsche writes, “with an imitation from without, with a copying of what is most effective.” The boundaries between an original and an imitation are invariably fluid and may even be as obsolete as the separation of nature and artifice.

Manipulation is a constant companion in human networks, but what are the power relations behind the decision which manipulation is still morally legitimated and which one is morally unaceptable?

What is making a fake a fake? The communist cry for ‚necessity‘ and the feminist cry for ‚naturalness‘ contrast with the human desire for experimentation, self- expression and speculation. Since we are all products of a multi-faceted mesh of influences, what is it that makes us and the objects we are related to authentic?

edition of 12 Photographic Prints 60 x 75 cm

video consisting of a two monitor installation, 7:22 min, looped

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Anna Ehrenstein

Anna Ehrenstein works in transdisciplinary artistic practice with an emphasize on research and mediation. She is using print, video, installation, social moments or sculpture to reverberate the intersections and divergences of high and low cultures and their socio-economic and bio-political constitutions. Born in Germany with Albanian heritage and raised between the two cultures, realities and reflections around migration-related visual culture, diasporic narrations, networked images and the class hierarchy of pixels form main foci due to her own intercultural experiences.

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