The collaboration between Markus Muntean (1962, Graz) and Adi Rosenblum (1962, Haifa), which began in 1992, stands as one of the most consistent and compelling undertakings in contemporary painting. For over three decades, the artist duo has been exploring the boundaries of pictorial representation and the possibilities of articulating collective experience. Their works simultaneously invoke references to classical art history and the visual language of contemporary media culture. Their dual use of reference seeks to generate zones of tension in which past and present, reality and fiction, intimacy and alienation remain in constant dialogue.

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At the center of their paintings and sculptural arrangements are often young figures, who appear within theatrical, tableau vivant-like scenes. Drawn from fashion photography, social media, or their own photographic archive, these figures are not individual portraits but stylised ‘types’ that embody existential states. Although placed in close proximity within the pictorial space, their gazes, gestures, and overall body language convey a sense of inner withdrawal, solitude, and timelessness. This paradox is heightened by the dramatic play of light and shadow, as well as by the literary quotations—from Eliot to Woolf and Shakespeare to Beckett—inserted into the scenes. The accompanying texts, while intensifying the tension, simultaneously open up and shut down meaning. By doing so, these consistently intensify the tension, while systematically resisting any unambiguous interpretation. 

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What distinguishes their practice is that, while firmly rooted in the traditions of European art history, their works simultaneously attempt to reinterpret the iconography of contemporary visual culture. The codes of self-representation on social media, the poses of fashion photography, and narrative fragments borrowed from cinema. These all appear in their oeuvre, not as illustrations but as passages between cultural memory and present-day experience. This duality is particularly evident in the way their works both recall Warburg’s notion of the Pathosformel and reflect upon how art has relinquished its monopoly on pathos to the realms of advertising and mass media.

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The concept of the ‘non-place’, as defined by Marc Augé, is central to interpreting their oeuvre. Airports, waiting rooms, and other transitional spaces often serve as settings for their paintings, evoking the atmosphere of transit and in-betweenness. Within these spaces, physical proximity does not dispel isolation; rather, it amplifies it, confronting the viewer with the paradoxical experience of solitude within community.

 

//Mónika Zsikla//