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Auf dem Parkplatz davor ein weißer Pickup in der unbarmherzigen Mittagssonne. Eine einsame Palme und ein Flaggenmast mit schlaff herabhängendem Sternenbanner ragen in die Höhe. Es ist ein typisch amerikanisches Motiv, das Ralph Goings auf seinem 1970 entstandenen Gemälde McDonalds Pickup festgehalten hat.
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A McDonalds branch on a highway somewhere in the American South; in a parking lot out front, a white pickup truck in the merciless noon sun. Projecting vertically are a lonely palm tree and a flagpole with the Stars and Stripes hanging limp. It's a typical American motif that Ralph Goings depicted in his painting from 1970 titled McDonalds Pickup. Yet despite this, his hyperrealist work seems strangely ambiguous: not a single person can be seen, either in the parking lot or in the fast-food restaurant. Not a single car on the street, not even a discarded hamburger wrapping. The square format shows a purified, nearly clinical version of reality and offers up the McDonald's branch as a symbol for a thoroughly homogenized American society.
  Deutsche Bank - ArtMag ...  
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Bekannt wurden sie mit erstklassig ausgeführten Glasfaser- und Kunstharzskulpturen von nackten Kindern in Nike-Turnschuhen, die an den unwahrscheinlichsten Stellen mit einander verwachsen sind und denen an noch unwahrscheinlicheren Stellen Geschlechtsteile aus dem Körper ragen.
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The pillars of their work are shock effects and corny jokes, and their most important aesthetic strategy is to simply lower the boom. They made a name for themselves with first-rate fiberglass and resin sculptures of naked children wearing Nike tennis shoes who are joined together in the most improbable places and from whose bodies genitals jut out in even more improbable places. These sculptures bear titles such as Fuck Face (1994) and Two-faced Cunt (1995). Other works depict decomposing skeletons covered with flies, worms, and snakes, inspired by Goya's drawing cycle Los desastres de la Guerra (1810-1820). That the Chapman's additionally auctioned off two volumes from 1937 with original editions of these etchings and adorned them with Mickey Mouse faces, insect antennae, and swastikas, caused an outrage. The list of affronts, obscenities, and cynicisms in the Chapmans' extensive work goes on and on.
  Deutsche Bank - ArtMag ...  
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Ein surreales Szenario auf dem Londoner Trafalgar Square: rund um die Nelson-Säule liegen riesige Baumstümpfe. Wie Nervenenden ragen ihre weit verzweigten Wurzeln in die Luft. Ob man sie nun als Skulpturen betrachtet oder als Symbole für die rasant fortschreitende Zerstörung der Natur – kaum ein Passant kann sich dieser Installation entziehen.
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A surreal scenario on Trafalgar Square in London: large tree stumps are spread out around Nelson’s Column. Like nerve endings, their widely ramified roots protrude into the air. Whether they are viewed as sculptures or as symbols for the rapidly progressing destruction of nature – passersby are compelled to take note of the installation. Angela Palmer called her project Ghost Forest. The British artist couldn’t have found a more apt title for her project, whose main sponsor is Deutsche Bank. The ten tree stumps, which stem from a rainforest in Ghana, indeed look like ghosts, like the spirits of giant trees that once rose as high as Nelson’s Column only to end up as raw material for cabinets, flooring or coffins.
  Deutsche Bank - ArtMag ...  
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Nur langsam erkennt man das filigrane, auf eine Plastikleinwand collagierte Motiv: eine einbeinige, sich krümmende Cyborg-Frau, der statt einer Nase Arme aus dem Gesicht ragen, während ihre Gliedmaßen aus Motorrädern zusammensetzt sind.
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Upon entering Wangechi Mutu’s studio, one immediately feels that overwhelming sensation of opening a box with an impossible jigsaw puzzle. Cutouts from magazines, mostly of female body parts, litter the space like trading tickets on a stock exchange floor. Animal hides hang from the wall less than sportingly and an Affalo horn dangles from a hook, its sheen somehow rendered worn-out by the unrolled sheets of iridescent Mylar stretching along the tables and floors. It’s a veritable mess of images, objects, and materials. But then, one of Mutu’s near-finished works literally glares out from the wall where it is hung, and a consummation, although equally puzzling, occurs: a one-legged, contorted cyborg-woman, with arms for a nose and motorcycles for limbs, rivets out from a plastic “canvas.”
  Deutsche Bank - ArtMag ...  
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Immer wieder blitzen Kameras und Fotohandys. Die rund eine Tonne schwere Metallröhre muss auf acht kleinen Metallzapfen platziert werden, die aus dem Betonfundament ragen. Das in sich gedrehte, neun Meter lange Objekt so zu platzieren, dass die Löcher in seiner Bodenplatte passgenau auf die Zapfen aufgesetzt werden können, ist nicht leicht.
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This evening, it’s precision work on Tauentzienstrasse. Spotlights bathe the construction site in bright light as the last section of the sculpture Berlin is slowly lowered by a crane. A crowd of passersby watches the rebuilding of one of the capital’s trademarks. Camera and cell phone cameras flash everywhere as the heavy metal tube, which weighs around a ton, is placed on eight small metal pins sticking out of the cement foundation. It’s no easy task to place the thirty-foot object in such a way that the holes in its base plate fit perfectly onto the pins. The distance to the already installed section of the work has to be checked constantly. Shortly after 6 p.m., the work is complete: the last of the four tubes is in place, and the sculpture is back in its original location diagonally opposite Europa Center. It was the second elaborate move of a work of art from the Deutsche Bank Collection this year. In September, Max Bill’s monumental sculpture Continuity(1986) was erected on the new green next to the Deutsche Bank Towers in Frankfurt.