Leasing dell’opera “ Call Me Green Bunny. Just Call ” di Peter Dzogaba con opzione di acquisto
Le Quadri di Peter Dzogaba sono disponibili per il noleggio con opzione di acquisto
Scegli i tuoi pagamenti mensili:
Richiesta di informazioni sul leasing "Call Me Green Bunny. Just Call"
Contattaci, un esperto finanziario ti contatterà entro 24 ore:
Domande frequenti
What are the advantages of leasing works of art?
- Financial Flexibility: You can enjoy exceptional, high-value works of art without a large initial investment.
- Tax Benefits: Receive potential tax benefits as rents can be deducted as a business expense.
How are the prices of monthly payments for leasing works of art set?
- The costs depend on the value of the work, the duration of the leasing contract, and any services included such as installation.
Can we buy the work after the leasing period?
- Yes, on Artmajeur leasing contracts offer a purchase option at the end of the contract, allowing customers to acquire the work at a determined price (residual value).
How are the safety and insurance of works managed?
- Insurance during the duration of the rental contract is the responsibility of the customer. It is therefore important to check the details of your insurance contract to be sure that your leased works are covered in the event of damage.
What are the conditions for terminating the leasing contract before its end?
- Unless there are specific conditions, leasing contracts for works of art commit the client to payment of the entire price of the work; payments are therefore due until the end of the lease.
Riguardo l'autore
Conceptual, visual and performance artist, animator and media producer from Berlin, Germany. Works also for TV and computer game industry.
Peter's oeuvre draws on the 20th c. modernist tradition and reflects the edgy current social awareness so typical of the German millennial culture. Peter's images with seemingly fairy-tale like narrative hide a deft analysis of the current social crisis.
Fear of the unknown, emotionally underhanded tactics and messages media employs to manipulate- to exploit or pacify such fears,- as well as the consequences of such tactics are the issues Dzogaba explores in his series.
As all Peter's work - though deceivingly simple and childlike, this contemporary comics is brilliantly layered and complex. On the surface, it is a tale of the Giant Yubobo told from a perspective of a little boy. Its simplicity -also typical of his Yubobo series- is meant to both disarm and intrigue the viewer, to elicit his inner child and delve into the story of a mysterious Cyclop (one-eyed) giant. Who is he, why did he come, where did he come from, what does he want?
As a whole, Yobobo series consists of several paintings, yet their order can be altered, some images can be omitted, others added when displayed- without changing the meaning or ultimate goal of the narrative Dzogaba attempts to convey. The idea of this narrative “play” – amplification, addition and omission of narrative elements of the whole story (or “whole picture”)- was conceived to replicate tactics used by the current news media to manipulate our attitudes, our worldview when encountering new social phenomena.
Peter’s images with his seemingly fairy tale like narrative hide a deft analysis of the current social problem faced by the European continent - that of the migrant crisis. His approach both mimics and criticizes that of the current media.
His “comics” tell a story of a giant Yobobo who shows up in a fictitious megalopolis squeezing through the city’s skyscrapers. Overnight he becomes a media celebrity. One minute a Violet Lady gave him a funny moon, the next, the giant is trying to shield himself from the flashes of paparazzi’s cameras. Among the journalists is a red-headed female whom Yubobo decides to let her in on a secret… And the following morning she wakes up with a strange looking big artificial hand that makes her strong and capable of doing anything she wants and desires.
Yet the girl gets frightened and collapses mentally unable to deal with her new reality. There are many more like her until one of the "strong arm" girls realizes she likes using it to stroke her hair; another girl uses it to fashion herself a companion robot. Eventually, little by little, the inhabitants of the city get used to what’s happening and pretend that everything is just normal...
[Silvia Lattova, Think+Feel Contemporary]
- Nazionalità: LETTONIA
- Data di nascita : data sconosciuta
- Domini artistici:
- Gruppi: Artisti Lettoni Contemporanei