Born in 1976, the Detroit-based artist excels at juxtaposing references from art history – some more obvious, others less so – in a masterly yet nonchalant, Tumbler-esque approach. His current solo show at Galerie Emmanuel Perrotin, Paris, is entitled ‘Thirty-Six Unknown Poets (or, decorative objects for the homosexual home)’. This nudges at the ‘Thirty Six Poets Immortals’, a group of Japanese poets compiled by legendary writer Fujiwara No Kinto in 1009, who believed their work had an eternal value. The title is revealing: Its first part turns the idea of timelessness on its head and ponders the destiny of utterly forgettable work; its second part adds a tongue-in-cheek, self-aware layer, which is vital to Bas’ œuvre.
In the large, airy room of Passage Saint Claude, small portraits of young men – all invented unknown poets – are on display. They both look fashionable and evocative of 19th century male portraiture – something also apparent in the work of his contemporaries Christian Schoeler and Elizabeth Peyton. Stylistically, Bas appears to consciously cite Gustav Klimt in his repetitive use of gold leaf, on lips or buttons, as well as Egon Schiele for the emaciated features of the men. Nevertheless, he adds a comic, awkwardly personal touch to each portrait by adding captions such as “he thought Baudelaire was overrated”, “his parents encouraged medical school” or “his last poem was about suicide”. The interior of the room is decorated, or rather populated, with painted panels inspired by the Japanese tradition as well as the Nubis movement. These are ornamented with finely crafted skyscrapers and Van Gogh-like sunflowers, creating a poetic, post-modern landscape within the gallery. Hernan Bas, for his adroit homage to German Expressionism that he infuses with contemporary interrogations, makes it a potent, relevant, and deeply enjoyable show.
Hernan Bas Thirty-six Unknown Poets (or, decorative objects for the homosexual home) Until October 27, 2012 Galerie Perrotin, Paris