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From: <[EMAIL PROTECTED]>
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Sent: Wednesday, October 11, 2000 3:48 PM
Subject: [ 0100101110101101.ORG ] THE DEATH AND DEATH OF DARKO MAVER
>
> >From "Mute", n. 17, May 2000
>
> THE DEATH AND DEATH OF DARKO MAVER
> In paying tribute to the short-lived career of performance artist
> Darko Maver, the artworld got more than it bargained for.
>
> Ada Veen reports
>
> Last May, news started trickling through the European artworld that
> the Serbo-Slovenian artist Darko Maver had died in enigmatic
> circumstances in a prison near Kosovan border. Maver's brand of
> nomadic performance art, which consisted of placing gruesomely
> realistic models of murder victims in a series of hotel rooms and
> empty houses dotted around the former Yugoslavia, had been attracting
> press attention since the previous years. The Bologna-based webzine
> Entartete Kunst ('Degenerate Art') had spotted him first, and profiles
> had followed in Tema Celeste and Flesh Out. His arrest, for
> distributing 'anti-patriotic propaganda', had prompted the 'Free Art
> Campaign', with hundreds of Italian artists calling for his release.
> Shortly after his death, Ljubljana's Kapelica Gallery exhibited Tanz
> der Spinne ('Dance of the Spider') project, and published his texts
> Disappearance of the Body and Anaphoragenetica. In September, he was
> included in the 48th Venice Biennale and a comprehensive retrospective
> was mounted by Rome's Forte Prenestino, complete with biographical
> films and theatrical tributes. His habilitation, so it seemed, was
> signed, sealed and delivered.
> Then, this February, the whole cosy-if-sad official history was blown
> wide open by the revelation that Darko Maver had never, in fact,
> existed. He was the creation, it transpired, of the art collective
> 0100101110101101.ORG - who also (sound of a thousand red-faced people
> kicking themselves here) edit Entartete Kunst. But a further
> revelation turned red faces sickly pale: the horrifically maimed,
> bleeding and decapitated waxwork figures Maver had made his name with
> - photos of which had been widely circulated - weren't models at all,
> but rather photographic documents of actual atrocities, several of
> which had taken place in Maver's 'home' patch of the former
> Yugoslavia.
> 0100101110101101.ORG have stressed in interviews that their creation -
> perpetration - of Maver was intended to do more than simply highlight
> the inadequacies of the artworld, in the manner of the recent Nat Tate
> retrospective in New York (at which critics queued up to declare how
> long they'd been fans of a painter Bowie an his friends had invented
> the month before). Maver, they claim, does exist - in hybrid form,
> skulking the network from which he's been teased and wired (the
> photos, for example, are imported from the stomach-churning rotten
> site; the name Darko Maver itself was found in a bibliography). But
> Maver's reality is more than semiotic: it's mythopoetic too. With the
> revelation of his inactuality, a real death and a hundred simulated
> ones were suddenly transformed into a portal opening to our age's own
> grotesque political - and ontological - Unconscious. Pan, it turns
> out, lives.
>
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