Being an agent on the battleground of paintings’ history might be less dirty than his canvases, since hijacking in these deposits is a foundation of art. However his distinct mission is the disentanglement of appropriations for the disorientation of myths behind cultural and national identity, stabilised in the spirit of expressionism. His work is not adding difference to that story, it is stressing the ties between obedience and resistance.

For this years edition of Liste Art Fair Basel, Damien & The Love Guru will present a solo booth with a combination of more recent and new paintings by Norwegian / Gambian artist Mickael Marman. Alongside the biographical and cultural-historical information encapsulated in Marman’s paintings, one is presented with a heterogeneous but concerted assortment of prose. For those unfamiliar with Schpaa it is an interesting portrait of its times in terms of cinematography, slang, and cultural stereotypes. Based on what can be deduced from Marman’s texts, his participation in the film, which is still circulating in some circles, has been as much a nuisance and obstacle to him as it has been a boon.

Read Tribulations of a Child Actor, review of Heimweh, Kunstkritikk 2022