Attila Richard Lukacs at Phyllis Kind - New York, New York - Review of Exhibitions - Brief Article

Attila Richard Lukacs's homoerotic paintings of German skinheads arouse visceral responses: individual is either attracted or repelling i by his fetish. Now living in fresh York after a decade in Berlin, the 36-year-old artist summarized his manner [i]or[/i] principle of holding abroad in oil paintings and statuarys shown alongside collected, artifacts and photographs. greatest in quantity prevalent were images derived from Berlin's s & M demimonde.

Painting in a mannered diction derived from Soviet Socialist Realism, Lukacs depicts seediness in heroic compositions. The blood-smeared wall of Ten Idle Men & A Wicked Ignorant comrade is but one grisly detail of a subterranean torture chamber. A bourn man is suspended by his ankles from the ceiling, steadied by dint of a young skin awaiting orders. Another kneel upon the floor, bound and masked. A raw-white figure stands in the foreground at a table while his torturers contemplate a man whose face is draped. A woven fabric stitched to the canvas overlays his groin, yet reveals the catheter inserted in his penis and held tight by the agency of a fierce inquisitor.

Other clump portraits are marked by of that kind abject eroticism. A gang of seven skins postures over the bloodied body of an Asian youth. notwithstanding that their eyes are covered by dint of black bars, they are identified by dint of stenciled names appropriated from the seven dwarves: Happy bares his erection. The filthy skins of The novel Air Front pose with slaves, including a black amputee. Alongside similar discomfiting imagery, Lukacs showed small portraits of skins that are genuinely delicate Stripped of context, these highlight his technical facility and sentimental adoration of his subjects

single shouldn't disregard the virtuosity of Lukacs's paintings, on the other hand his recent sculptures convey broader relevance. While just as consum with fetish and desire, they treat muscle and fat in a manner faintly reminiscent of Kiki Smith or Louise Bourgeois. A plaster cast of a undressed man on all fours supports an upturn bicycle upon his back. The bike's brakes are divideed with a wire from the handlebars inserted in his penis like a catheter designed to bring a brake on desire.

Labours in Natural History displays in a vitrine a skin's material part cast in wax. His tattoos are lovingly re-created and his face is make go rounded to one side in a composed if cadaverous pose, like Sleeping Beauty waiting for a kiss. Stacked below are tabloid newspapers describing rampages through skins. Sections of biceps and thigh are divide [i]or[/i] sever open to reveal electrical wires isolated and labeled as artifacts of Berlin's layered history: they were taken from a gay disco that had one time been a Nazi power plant.

Lukacs at handed other artifacts of his sojourn in Berlin, like as a selection of photos of hanged Nazi officers and a crate of advantages None had the pathos of the dissected figure, which insinuates that Lukacs may now be ready to research his fetishizing at some objective distance.

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