Joost Wierenga

Art should merge with reality; it does not necessarily belong in a museum or gallery. Banners, stickers and mailart augment the audience to taxi-drivers, cops, carpenters and the whole of the traditional non-art community.

Photographs and images of dread stored in our collective memory, accompanied by quoted peremptory pronouncements, are served simultaneously as captions, titles and dialogue. Some are provocations, others accusations. This modern day propaganda is aimed towards influencing the attitude of Western politics, the contemporary artworld, social culture and humanity.

My choices of imagery and captions are more than just a metaphor for how I see the world, they are literal translations of dread. In John Carpenters They Live (1988) there is a way to see through the message of advertisement and propaganada is discovered by putting on a set of glasses. “To step out of ideology, it hurts. It’s a painful experience. You must force yourself to do it.” (Z?iz?ek on they live). In this way the truth hurts; there is a temptation to reject reality. Nobody wants to hear that they are the reason school shootings happen.

Easily recognisable stimuli have the power to embed messages and ideas, just like propaganda and advertisement, because they are understood and recognised by everyone. This reflects my choice of form.

My work addresses the necessity of radical progression by confronting ignorance around societal norms. god hates us all is an opposition to the accepted idea that a higher power apparently loves us all. The devaluation of higher powers is a lesson in radical progression and should be therefore pursued with intent.

My theoretical and visual research involve these fore-mentioned strategies, through both investigation and application, with regard to the Propaganda Machine.