{"id":20469,"date":"2015-03-31T17:40:31","date_gmt":"2015-03-31T15:40:31","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=20469"},"modified":"2015-03-31T17:40:31","modified_gmt":"2015-03-31T15:40:31","slug":"interview-with-debora-delmar","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/interview-with-debora-delmar\/","title":{"rendered":"Juice Bars And Credit Cards: Interview with D\u00e9bora Delmar"},"content":{"rendered":"

\"Work Work and Study, 2015, Modern Art Oxford 2015 \u00a9 Ben Westoby<\/p>\n

Thanks to D\u00e9bora Delmar, green smoothies have finally been canonised. Working under the pseudonym Debora Delmar Corp., the Mexican-born\/New York-educated artist critically examines and subverts the aesthetics and modes of communication behind today\u2019s political landscape of late capitalism. The languages of advertising, celebrity culture and consumerism intertwine in a curious universe of images, material desires and bodily anxieties. They are alluring and humorous, but never forget the political critique motivating these appropriations.<\/p>\n

The platinum blonde artist dedicates herself fully to the study of consumer culture, even in terms of her own mode of distribution: omnipresent, she operates online and offline through a variety of mediums from Prezi presentations to virtual credit cards; from juice bars to mixed media sculpture. In “Upward Mobility” at Modern Art Oxford\u2013her first solo show in the United Kingdom\u2013Delmar explores the aesthetics of class aspiration, as seen in Mexiko<\/a>, globally and on the internet. Sleek caught up with Debora before the opening of “Upward Mobility”.<\/p>\n

\"D\u00e8bora D\u00e9bora Delmar<\/p>\n

Debora Delmar Corporation functions as both the body and the maker of your work. How did the name come to be?<\/b><\/p>\n

I changed my name when I was in New York, responding to being at a school that looked totally like a business. We had Google across the street, and a super-consumerist culture was all around us. I was also thinking about artists like Jeff Koons and Warhol and how the artist is always turned into a brand\u2013even Frida Kahlo’s face: it\u2019s what people know, and her as a brand is visible everywhere. I was thinking about art as a product\u2013a luxury commodity\u2013and the artist as as a luxury brand. At first, I started doing fake advertisements. I created my logo and was playing around with all these ideas from marketing, but I was doing all these things that were immaterial. I later became interested in working with objects, making sculptures and installations.\u00a0<\/b><\/p>\n

\"Upward Upward Mobility Upper Gallery, Modern Art Oxford 2015 \u00a9 Ben Westoby<\/p>\n

Has removing yourself from your practice<\/b>\u00a0by forming Debora Delmar Corporation given you any kind of freedom?<\/b><\/p>\n

I feel like it makes me more comfortable, as it separates my personal name and my work. I don\u2019t want my practice to be about\u00a0ich<\/i>; the work is really about my perspective on specific issues. I don\u2019t want it to be super personal, or from\u00a0one\u00a0point of view. I don\u2019t think my personality or the way I look is important in my practice.<\/p>\n

You have distributed work through so many different channels. Is exploring these many channels important for you?<\/b><\/p>\n

Yes, I love doing that. It keeps me active. I\u2019m very “of our time” in the sense that I cannot focus: I have to always have my phone and my computer. Facebook is basically my studio! But I also love transforming images into actual objects. I like to experiment with these two different forms of communication.<\/p>\n

\"D\u00e9bora D\u00e9bora Delmar Instagram Takeover<\/p>\n

It\u2019s impossible to talk about class-struggle in the same way as you could or would in the 20th<\/sup> century. How does class manifest itself in the 21st<\/sup> century?<\/b><\/p>\n

Today, we not only aspire to wealth in terms of diamonds and “bling”, but also in terms of larger ideas of DIY, yoga, organic living\u2013the branding is towards something non-materialistic. It\u2019s multi-level now, and simultaneous.\u00a0<\/p>\n

Tell me about your new show at Modern Art Oxford. <\/b><\/p>\n

The title of the show is “Upward Mobility”. <\/i>I\u2019ve been thinking about objects and images that represent the idea of “a good life” and help you climb the ladder of society to a higher position:\u00a0In Mexico, people wear fake Abercrombie & Fitch and UGG boots; they go to Starbucks or Olive Garden thinking that it\u2019s “nice” or “fancy”, while in the US, these retailers would be considered horrible and tacky. I brought certain elements from Mexico and integrated them in into the context of the show.<\/p>\n

I have also thought a lot about the place where I\u2019ll be showing in the UK\u2013I was very inspired by the British gardens. I was thinking about hedges: shaped hedges seen in middle-class suburbia as a signifier of “a good family” or “a good life”. There are certain things in the UK that are very weird to me, but people here are so used to them and consider them normal. You become numb to the meanings of these aesthetics and objects.<\/p>\n

Interview by Jeppe Ugelvig<\/strong><\/p>\n

“Upward Mobility”<\/a> by Debora Delmar Corporation is on at Modern Art Oxford until 17 May 2015.\u00a0<\/strong><\/p>\n

Mehr: Sean Raspet’s Deformulation<\/a><\/strong><\/p>\n

More: Francesca Gavin tackles digital disembodiment\u00a0<\/a><\/strong><\/p>\n

\"Green Green Screen, Luxury Study and John, 2015, Modern Art Oxford 2015 \u00a9 Ben Westoby<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>","protected":false},"excerpt":{"rendered":"

Work and Study, 2015, Modern Art Oxford 2015 \u00a9 Ben Westoby Thanks to D\u00e9bora Delmar, green smoothies have finally been canonised. Working under the pseudonym Debora Delmar Corp., the Mexican-born\/New York-educated artist critically examines and subverts the aesthetics and modes of communication behind today\u2019s political landscape of late capitalism. The languages of advertising, celebrity culture…<\/p>","protected":false},"author":3,"featured_media":20477,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[11856,139],"tags":[38,2447,2541,2542,80,13,2543,2544,752,2545],"class_list":["post-20469","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sleek-art","category-art","tag-art","tag-capitalism","tag-debora-delmar","tag-debora-delmar-corp","tag-exclusive","tag-interview","tag-jeppe-ugelvig","tag-mexico","tag-mexico-city","tag-modern-art-oxford"],"acf":{"main_category":null,"legacy":"1","exclude_from_ads":null,"hero_title":null,"subtitle":null,"hero":null,"teasers":null,"facebook_image":null,"related_articles":null,"next_article":null,"sleek_card_focus":null,"content":null},"yoast_head":"\nJuice Bars And Credit Cards: Interview with D\u00e9bora Delmar Juice Bars And Credit Cards: Interview with D\u00e9bora Delmar<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/interview-with-debora-delmar\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Juice Bars And Credit Cards: Interview with D\u00e9bora Delmar Juice Bars And Credit Cards: Interview with D\u00e9bora Delmar\" \/>\n<meta property=\"og:description\" content=\"Work and Study, 2015, Modern Art Oxford 2015 \u00a9 Ben Westoby Thanks to D\u00e9bora Delmar, green smoothies have finally been canonised. 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