Nxel Grovethe painter and German photographer, deceased in 2010, marked with their unpredictable style the European artistic panorama of second half of century XX. They set out in New York its series of iconoclastic photos among 1964 and 2000. He was an eager consumer for sicodlicos fungi. It translated the hallucinatory quality in its work and its life: he was unpredictable, erratic and wild. To Sigmar Polke (1941-2010) the curators of art feared to him merchant and: he appraised his works by simple whim. He was able to inflate the price of a picture until placing it at the level of a Renaissance masterpiece or, on the contrary, reducing it as if one was a piece of street swap-meet. That same attitude presided over its race.

One of its known series more calls I Don t Really Think About Anything Too Much (nonfodder too much in anything, 2002). It left from the base of which no image is sagrada and that anyone (an emblem of cmic, an advertising announcement, a snapshot of tourist or a cut of press) can be an art work if it is manipulated of certain form. Machines of to paint In another one, For Hunt the Taliban and To the Qaeda (the hunting of talibn and To the Qaeda, 2002), proposed that the artistic pieces can be realised by painting machines (machines to paint) in which the human intervention was fitted to the adjustments of a mechanical system. During all their adult life, this German of Silesia (region that now belongs to Poland) was an eager recreational drug user. They enchanted to him, mainly, the hallucinogenic fungi. The hallucinatory quality of the psilocibina, the present alkaloid in many of them, is necessary to understand its work: unpredictable, wild and changing. Years after History of Everything (History of everything), the great anthology that dedicated the Tate Modern to him, exposes now in New York Sigmar Polke: Photoworks 1964-2000 (Sigmar Polke: Photographic works 1964-2000.

Gallery I read Koening), an ample anthology of its photographic, perhaps not so important production or breaker as pictorial or graphical, but the equally representative one of artist who never let itself restrict by means or the company/signature. ” Seduction accidental” The photos of Polke are so mysterious and difficult stylistically to locate as the rest of their work. They are not possible either to be explained in strict terms of meaning. The organizers of the sample emphasize the capacity of the images to cause one ” seduction accidental” in the spectator. Considering that the artist, untiring traveller, mainly by the Far East, did thousands of photos during its life, the selection was complex, they add the commissioners. Perhaps the most showy pieces are the seizures in the Catacombs of Capucin of Palermo (Italy) and a series of extreme experiments, in which Polke tried with the ctos of radioactive material in the developing process. Influenced in its beginnings by pop art of Robert Rauschenberg, Jasper Johns and Andy Warhol and founder in 1963 of the movement anti artistic Kapitalistischer Realismus (Capitalist Realism) with Gerhard Richter, Polke was come off the teachers from the Seventies and developed a disorderly, full race of devoid humor and of limits. It made art with industrial potatoes, remainders and rest of cartelera; in the eighty it mixed painting with abrasive chemical agents or toxic to set out the reaction and lately it reduced his production to which denominated ” allegories histricas” (almost mechanical visions from control towers).