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Daniele Buetti, Oh Boy Oh Boy VI, 2011, ink-jet print covered with laser-contour-cut acrylic glass,70 7/8 x 55 1/8". From the series “Oh Boy Oh Boy,” 2008–.

Daniele Buetti

Galerie Nicola von Senger

Daniele Buetti, Oh Boy Oh Boy VI, 2011, ink-jet print covered with laser-contour-cut acrylic glass,70 7/8 x 55 1/8". From the series “Oh Boy Oh Boy,” 2008–.

Daniele Buetti’s images first strike the viewer as colorful, bright, and playfully burlesque. They seem like shiny high-tech hybrids of ancient mosaics, stained-glass windows, and puzzles, in whose surfaces viewers find themselves reflected under the gallery’s fluorescent lights. Rich colors and dynamic lines create a festive atmosphere, and the delicate honeycomb structure that covers many sections of the pictures is reminiscent of the fractured surface of a disco ball. This first seductive feeling can last a long moment, triggering a purely formalist fascination with the interplay of abstract passages and the groups of human figures who also populate these images. So much greater then is the shock that breaks the initial enjoyment when we look more closely and realize the figures are victims of torture or other physical abuse. Several of their postures we know only too well:

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