Filmoteka Muzeum

Contrary to other works, where Krenz is featured only as an anonymous agent, here he clearly defines himself as an artist. Like in Bravo, or the risky situation in Bad, Not Bad, Good..., there is a strong focus here on the spectacular edge of the performed action.

It brings the work disturbingly near to the medial discourse of commercial and sensation-oriented pop culture. The film provides the key to Krenz’s works of this kind, which serves to unlock reflection on the role and status of the artist as well as on appropriating and impoverishing the achievements of modern art by pop culture.
 

(ŁM)