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48-HOUR EDITION DROP: JOACHIM BOSSE

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Joachim Bosse

OMG IN HEAVEN

2023
Fine art print
80 x 60 cm; 31.5 x 23.6 in, sheet
83 x 63 cm; 32.7 x 24.8 in, frame
48-Hour Edition Drop
Signed and numbered by the artist.

Estimated delivery time: 4 - 6 weeks
250,00 € excl. VAT & shipping
Payment options: credit card, PayPal, Klarna, Apple Pay, Google Pay, Ethereum, USDC, Polygon & BNB
  • Unframed- Sold Out- 250,00 €
  • Framed- Sold Out- 360,00 €

48-HOUR EDITION DROP I JOACHIM BOSSE
31 MAY – 2 JUNE
6 PM CEST - 6 PM CEST

Joachim Bosse is a conceptual artist living and working in Berlin. Using hyperrealistic sculptures, typography, and mixed media, he deals with consumerism, the influences of mass media, and the impact of echo chambers and social eco-systems in the digital age. He remixes pop culture and recontextualizes famous iconography in order to question contemporary identities and cultural values. Bosse describes his work as public messaging.

ABOUT THE WORK
"OMG, this was my first artwork ever. Until today, it felt like my firstborn, with whom I had a very close and special relationship.

I remember carrying around the idea for this sculpture for two years, not knowing how to bring it to life. Since it feels like a modern icon to me, representing today's society oscillating between the remains of analogue reality and searching for a new belief, purpose, and belonging in a realm of digital uncertainty, I was scared and nervous someone else would come up with the idea as well, being able to produce it before me.

When I finally was able to carve the face and body, to fully create and release it, I was blown away by the world-wide recognition as an artist and coverage by international media outlets such as Hypebeast and HIGHSNOBIETY, followed up by exhibitions and AR-experiences.

That’s why today I’m proud to be able to release my first fine art print ever with the first artwork I started my career with. It feels like a new beginning, and I’m proud to share it." – Joachim Bosse


OMG is for the believers. The ones who like.
The ones who post, share, and comment.

The ones who share their running and yoga routine,
their food, clothes, and vacation.
Their birthdays and honeymoons,
their workdays and club nights,
their Sunday brunches and shopping trips.

OMG is for the selfie queens and dm kings. The soccer moms
and the coffee-shop hipsters. The dudes and the bros.
The sunset mamas and the bbq papas, the motivational coaches
and the gym jocks.

OMG is for the followers.

(Please like this post)

HAND-FINISH

Each edition is signed and numbered by the artist.

ABOUT THE FRAME

The frame is white ayous wood with acrylic glass that has 84% UV protection. Framed dimensions are 83 x 63 cm; 27.8 x 19.9 in.

ABOUT THE 48-HOUR EDITION DROP

The 48-HOUR EDITION DROP is a concept which allows artists to sell an unlimited amount of physical editions within the limited time frame of 48 hours on EXPANDED.ART. Each 48HOUR EDITION DROP edition will be available for 48hours only, then never again.

ABOUT THE EDITION NUMBER

The editions are numbered randomly, i.e. the edition number is not chronologically assigned to the time of order receipt. All 24-HOUR EDITION DROP prints are made to order. Each artwork will be produced and personalized specifically for each client, the artwork therefore is not eligible for return.

Joachim Bosse is a conceptual artist living and working in Berlin. Using hyperrealistic sculptures, typography, and mixed media, he deals with consumerism, the influences of mass media, and the impact of echo chambers and social eco-systems in the digital age. He remixes pop culture and recontextualizes famous iconography in order to question contemporary identities and cultural values. Bosse describes his work as public messaging.

Art, Advertisement, and Social Media

JOACHIM BOSSE: NO NATION. NO BORDERS. ONLYFANS

Anika Meier: Joachim Bosse, your path led you from advertising to art. Or vice versa? Do advertising and art have anything in common?

Joachim Bosse: I believe advertising is the easiest way to access and start a creative career. There is a problem that needs to be solved. And you can find the most original way to do so, at least within certain boundaries and sets of rules.

As an artist you are your own client and agenda. There is definitely a bigger challenge because you don't create to solve something; you create for the sake of creating. Which means the problem that needs to be solved lies within you, or in the way you see the world or want to see it.

In that sense, art in its true, non-art market form is never an economical action, even though, in the best-case scenario, there is an economical consequence. Meaning: The order in art and advertising is completely different. In advertising, you get money to create. In art, you create, and maybe you get money.

That's why, for me personally, artists are among the last badasses in capitalism. I respect everybody who is hustling to live their dream instead of compromising ideas half the way or trading big aspirations for financial stability and peace of mind. Even though I also respect that. In an ideal world, everybody should just be allowed to do what makes them happy.

AM: When did you know you are an artist?

JB: I always wanted to tell stories and create scenarios, talk-abouts, and works that seduce and invite people into reflecting, thinking, discussing, and most of all, feeling.

When I was growing up, I tried that by immersing myself in rapping, graffiti-writing, skateboarding, and literature. Hip-hop culture used to be more punk and anti-establishment, as well as more political. It was a lot about creating a vibe through music and art. Or at least what we used to think of as art.

When I founded my advertising company DOJO with a friend 16 years ago, we were young and felt this unstoppable energy to create an antagonistic player against big corporate culture-driven agencies. I think, with a lot of luck, we were able to do that. I would call DOJO, my agency, my first piece of art, a long-term art performance of rebellious behavior in the corporate world.

My first artwork, DOJO, is now complete, and I am happy to move on and grow as a creative person. Daring to be my own client and trusting in the agenda I want to set. It´s definitely easier to crash a system like advertising than to add really new ways to a system like art that is built on the most individualistic people society has to offer. And also regarding all the great things that happened in modern and contemporary art.

Even though it feels like everything has been done, felt, executed, and thought about, I still believe there are ways to add to this incredible legacy of innovation and rebellion. That's what I'm interested in. I am looking forward to that challenge. 

Then again, and maybe most importantly, in my opinion, the label artist is nothing you can give to yourself. You have to earn it; only time and people will be able to tell if you are an artist or not.

AM: Looking at your art and your playful– let‘s call it– appropriation of icons of social media, commerce, and pop culture, I would assume Andy Warhol is one of your influences. Who or what else?

JB: Andy Warhol was a great character in art, that's for sure. But I really also love Maurizio Cattelan, Jeff Koons, Marina Abramović, Chris Burden, Banksy, Martin Kippenberger, and so many more.

Basically, everyone who brought fresh blood to the general body of art. All the bad seeds, all the punks, and all the new thinkers.

But yes, for me, coming from advertising, the period of pop art is definitely close to my heart.

AM: OMG is one of your earliest artworks. It shows Mark Zuckerberg on a cross, the Facebook logo. Why is Mark Zuckerberg an icon for you?

JB: Mark Zuckerberg is definitely an icon to me because he is larger than life, more of a symbol of our time, and he created a new world with just as many challenges and bad parts as any other world has and just as many interesting aspects and possibilities. And I think everything is still at the very beginning.

That's why OMG was my first artwork ever. Until today, it felt like my firstborn, whom I have a very close and special relationship with. 

I remember carrying around the idea for this sculpture for two years, not knowing how to bring it to life. Since it feels like a modern icon to me, representing today's society oscillating between the remains of analogue reality and searching for a new belief, purpose, and belonging in a realm of digital uncertainty, I was scared and nervous someone else would come up with the idea as well, being able to produce it before me. 

When I finally was able to carve the face and body, to fully create and release it, I was blown away by the world-wide recognition as an artist and coverage by international media outlets such as hypebeast and HIGHSNOBIETY followed up by exhibitions and AR-experiences.

I even built an installation called "Chuch of Data" with a life-sized OMG sculpture where people could stay, rest, and never leave the holy space of online community again. 

That’s why today I’m proud to be able to release my first fine art print ever with the first artwork I started my career with. It feels like a new beginning, and I’m proud to share it today.

AM: What are people‘s reactions to OMG?

JB: OMGGGGGGGGG.

AM: You wrote a poem that is part of the artwork. Are social media and its creators the new religion?

JB: I'm afraid there is a tendency going in that direction, which I really dislike.

In general, I am skeptical when it comes to religion, whereas I am a full supporter of other faiths.

To me, art is something that comes from deep within, such as faith. Whereas religion feels to me like more of an external thing, such as social media.

I think things become interesting when social media is a place to publish products of your faith, like art, because it gives young artists a way to get recognition. 

The moment you become obsessed with it, I'm afraid it has the same potential problems religion can bring if misused or lived dangerously or obsessively. It drives you away from faith and expressing yourself truly into a state of trying to belong. That's a sad phenomenon to witness. 

Then again, one love, and may everybody be allowed to believe in whatever they want. That is the most important thing.

AM: Why do you think it‘s important that art has a message and make people think?

JB: For me personally, art has no job except for being art and pleasing you as an artist. 

Art just needs to be, not to do. 

Nevertheless, I also think that art can only be art in the context of time, place, and society. 

That's why so many artists are only recognized in retrospectives. Important art, to me, almost feels like a Zeitgeist souvenir, which a lot of the time is hard to rate in the same period it was produced in. 

After all there is a correlation between the artist, the art and the viewers. That should be the holy triangle of happiness. The art market should rather be a tool to that triangle not setting the rules. In my recent „For Sale“ show curated by Anika Meier, I was working on this specific subject.

As for me personally, I don't produce art to make people think. Making people think is my art. Almost the same, but still a different order of intentionality. 

I look at myself as a curator of pop culture phenomena, isolating and recontextualizing parts of reality, trying to tickle public perception and invite people to access a different part of their mindsets. I like to seduce, not simply state. The beginning of a story is always the most interesting part because it can go in any direction. I like this tension.

AM: What is your hope as an artist and creative mind for social media?

JB: I hope it remains only a part of our reality instead of becoming our full perception of reality. Sometimes I feel that is the way we are headed right now. And that would be, well, OMG.