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You can see Marlene Kern in front of her exhibition Images of Men, City Hall Unterschleißheim


  |   Images of Men

Communicating is challenging – it is not easy to be aware generally of own sensations, but even more difficult is showing them. This is valid for women just as for men. Authentic feeling and action seems to get lost by the social wish for the strong exclusively and good. Particularly men seem to sacrifice the emotional part of her personality in favour of desired representations. Pictures of strong, sovereign men can be found easily. But where are pictures of unsafe, weeping men, from the men who know not further? Where are these emotions?


When I considered a subject in summer, 2014 for one painting week in Tuscany, I found the idea attractive to concentrate with the picturesque search for concealed feelings upon the representation of men. Thus originated the first series of large-size acrylic works. Here particularly feelings and qualities which stand in the way of the socially desired ones interested me. I painted fears, faint, helplessness, unscrupulousness and power gesticulation. In the social exile of unbeloved qualities and feelings lies a big mistake. Since in spite of all denial they are still there smouldering under the surface. Therefore, I bring this hidden „Emozioni non grata“ in series 1 of my „Images of men“ on the canvas. I paint emotional misfits in order to make them socially acceptable and to give them the space which they earn.


When I thought with look at my exhibition in the town house Unterschleißheim about an extending aspect for the series 2 of my „Images of men“, the photographs of Syrian refugee‘s context which touched me immediately very much met me. In contrast to the series 1 emotions become in life-menacing situations immediately visible. Fear, desperation, hopelessness and exhaustion give no time for considerations. Feeling and expression seem to be one and connect helpless humans with hurrying voluntary helpers emphatically.


Series 1 and series 2 are confronted as internal and external escapes.
While the figures of the first series which do not show their sensations remain being allone, the »castaways« of the second series which show their emotions immediately reach the hearts of other humans – communicating is succeeding.