In Stanley Kubrick, Jonathan Meese paints his idol
as the monolithic ‘Lenin head’ of communist propaganda:
visionary and revered harbinger of the utopian prospect. Meese
renders his abstraction with a scatological out pouring of
bile-like sentiment: cavernous blacks and polluted white smears
engulf the canvas in a theatre of horror; putrid brown entrails
spill out in cheap thrill spectacle. Meese uses abjection
as an apocalyptic metaphor. Grotesque, sublime, and comically
dumb, his painting follows the formulaic principles of science
fiction film prophecy: envisioning the future as post-Armageddon
landscape, where primitivism is embraced as the rational and
finite social solution.

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