Museum Raum 04

Daniel Amin Zaman: furrytale #5, 2009

furrytale #5, 2009, Papier und Aquarellfarbe auf Leinwand 120x100 cm, KULTUMdepot Graz, from: Daniel Amin Zaman: ZAMANISMUS [ZAMANISM], 2013 | Daniel Amin Zaman

Daniel Amin Zaman

geboren 1976 in Salzburg, Österreich, lebt und arbeitet in Wien. Er studierte an der Universität für Angewandte Kunst in Wien Malerei, wobei er seine künstlerische Sprache auch auf andere Medien wie Videokunst, Fotografie und Objektkunst ausweitete. Sein künstlerisches Interesse gilt dem kultischen Handeln und der Verbindung von östlichem und westlichem Bilddenken, für das er den „ZAMANISMUS“ entwickelte. Im KULTUM wurde Zaman in den Einzelausstellungen „Asymptotische Einübungen“ (2004), „Zamanismus“ (2013), „reliqte, reloaded: Zum Erbe christlicher Bildwelten heute” (2015/16) und „VULGATA. 77 Zugriffe auf die Bibel“ (2017) gezeigt.

born in Salzburg in 1976. He studied Painting at the University of Applied Arts Vienna whereby he also extended his artistic language to include other media such as video, photography, and object art. His works were presented in many solo exhibitions, The artist lives and works in Vienna. Zaman’s works were shown in the KULTUM in the solo exhibitions “Asymptotische Einübungen“ (2004) and “Zamanismus“ (2013).

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Daniel Amin Zaman: furrytale #5, 2009

Both ironically and seriously playing with the fundamental questioning of the modern age artist’s self Daniel Amin Zaman also takes the figure of Christ on board , which served for this projection at least since Albrecht Dürer’s times. “Ecce Zaman“ presents a savior whose wound on the right hand has been painted with lipstick from his left. The artist as someone who fails to fulfill the promise of salvation of his art after Pilate’s question “What is truth?”. The herding up of the flock of sheep at sunset (“calling the flock of sunset“) is accompanied by a didgeridoolike sound—but, actually, this is Zaman’s voice, which can simultaneously produce overtones and undertones. While the shepherd is calling his sheep, the same master can be seen dripping with cold sweat, and only wearing underpants, which he wets: “Gethsemane“ evokes the scared figure of Jesus before his agony and Zaman’s self-performance shifts to and fro between irony and seriousness.

Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21^stCentury. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 497-499.