Drink 4 Free (2022) Digital Arts by Peter Dzogaba

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  • This work is an "Open Edition" Digital Arts, Giclée Print / Digital Print
  • Dimensions Several sizes available
  • Several supports available (Fine art paper, Metal Print, Canvas Print)
  • Framing Framing available (Floating Frame + Under Glass, Frame + Under Acrylic Glass)
  • Artwork's condition The artwork is in perfect condition
  • Categories Conceptual Art Comics
...Yes, I understand. how ordinary this explanation sounds - but I really saw the basis of this graphic novel in a dream. When I was little, my friends and I often sneaked past the guards to a secret institute next to our yard. No, we were not interested in military secrets and such nonsense. On the first floor, in a small nook, there was an apparatus[...]
...Yes, I understand. how ordinary this explanation sounds - but I really saw the basis of this graphic novel in a dream. When I was little, my friends and I often sneaked past the guards to a secret institute next to our yard. No, we were not interested in military secrets and such nonsense. On the first floor, in a small nook, there was an apparatus with sparkling water. For free! Ok, this was hardly surprising. But! If you press one of the buttons - SALT sparkling water was poured into the glass! We dipped our tongues into it (drinking was unrealistic) and just stood there while the bubbles burst. Many years later, I dreamed that I was again standing with my tongue in a glass - but small eyes suddenly open on the tip of the tongue and it turns in different directions, as if trying to see something (or someone) in the salt water around

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DzogabaYoboboComics

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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[...]

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]

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