By MOMus - Museum of Contemporary Art - Macedonian Museum of Contemporary Art and State Museum of Contemporary Art Collections
Woven Explosion (Mondrian Under Pressure), 1984
Oppenheim's first steps as an artist were taken in association with Kienholz, with whom he created Neo-Dadaist works that he later destroyed. His entire oeuvre expresses his personal involvement with the problems raised by the role of art and its limits...
...and the role of artists and their communication with their public. In this he attempts to debunk the mechanisms of Western life and to arouse awareness. Thus, at the end of the '60s, finding the confines of art galleries limiting in terms of the art that can be shown there...
He sought the underlying intention behind the artistic act
(Conceptual Art), and the cerebral stimuli that guide the artist. His concern with the relationship between artists, their speculation, and their public is clearly apparent in his works on the theme of the artist as marionette.
Through the use of wood and mirror, the artist is referring to the brain’s functions. The ball that floats inside the head symbolizes the brain and its operation, as an instrument that receives information, it processes them and then it diffuses them.
Similarly with the way the human brain collects stimulations, the light hits the little rectangular surfaces of the mirror and reflects creating multiple sequential shinning.
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