reviews

View of “Tobias Zielony,” 2015. From left: Vele di Scampia (The Sails of Scampia), 2009; Kalandia Kustom Kar Kommandos, 2014; Big Sexyland, 2008.

Tobias Zielony

Lia Rumma | Naples

View of “Tobias Zielony,” 2015. From left: Vele di Scampia (The Sails of Scampia), 2009; Kalandia Kustom Kar Kommandos, 2014; Big Sexyland, 2008.

Tobias Zielony’s investigation of reality encourages multiple interpretations. The Berlin-based artist’s presentation of eight videos in “Dream Lovers. The Films 2008–2014” allowed those who are familiar with his photographic work to appreciate the thematic contiguity of his research across media, as well as its consistent marriage of the documentary with the abstract. Zielony’s “Dream Lovers” (the title was appropriated from the 1959 song by Bobby Darin) are antiheroes, typically adolescents, who inhabit the artist’s personal pantheon. These precarious protagonists are drawn from the pariahs of humanity, and Zielony depicts each dreaming of a life different from the one he or she is living, thus complicating the relationship between reality and its representation.

At Galleria Lia Rumma, a cathode-tube television played Big Sexyland, 2008, the artist’s first film, set in a porn

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