Josephine Meckseper
I Love Jesus, 2005
Aluminum, Plexiglas, glass, lights, C-print, metal display stands, plastic mannequin leg, argyle sock, found jewelry, gouache and tape on inkjet print mounted on cardboard, toilet brush, feather duster, acrylic on glass ball, glass vases
226.1 x 116.8 x 45.7 cm
Josephine Meckseper
Talk to Cindy, 2005
Aluminum, Plexiglas, glass, lights, metal display stands, painted toilet plunger, ink jet print mounted on cardboard underwear box, found jewelry, gouache and tape on inkjet print mounted on cardboard, found metal scrubber, found jewelry, glass ball,
226.1 x 116.8 x 45.7 cm
Josephine Meckseper
Selling Out, 2004
Window display with mixed media
78 x 148 x 35 cm
Josephine Meckseper
Occident – Orient (RUG NO.3), 2004
Mixed Fabrics
139 X 270 cm
Ubi Pedes Ibi.Patria (Where the feet are, there is the fatherland) (2006) provokes free-associative thoughts of sweatshop labour, bargain basement desperation, social homogeneity and images of shoe piles from the Holocaust. A witty take on cultural consumption, The Complete History of Postcontemporary Art (2005) is redolent with 1990s art allusions, while in Pyromaniac 2 (2003) lifestyle ideals merge with revolutionary violence in a female model on the brink of self-combustion.
Josephine Meckseper
CDU-CSU, 2001
C-Print
106 x 165.5 cm
Meckseper’s politically engaged works highlight ongoing problems of corporate corruption, status anxiety, social privilege and representations of women. They are also a chilling reminder of the excesses and distortions of capitalism, which has created a world in which, she would argue, there is no separation between materialism and political ideology: we are what we buy.