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«Darko Maver was undoubtedly one of the most enigmatic figures of the art world in recent years» Uri Pasovsky, Haaretz
«Darko Maver, 37 years old, dyeing in the military jail of Podgorica under the Nato bombings, produced attention and alarm, up to rise to the honour of the Venice Biennial. Darko Maver, unfortunately, doesn't exist» Loredana Lipperini, La Repubblica
«Tanz Der Spinne consisted of images of murders, rapes and violence of any kind, but none of the performances took place for real, and no Serbian newspaper ever reported them» Erewhom
«The horrifically maimed, bleeding and decapitated waxwork figures Maver had made his name with - photos of which had been widely circulated - weren't models at all, but rather photographic documents of actual atrocities, several of which had taken place in Maver's "home" patch of the former Yugoslavia» Ada Veen, Mute magazine
«One of the biggest artistic deceptions in recent years» Uri Pasovsky, Haaretz
«Of course, once again, pulling the strings behind the curtains, there couldn't be nobody else than them, who, using fantasy, sarcasm and the endless catalyzing strength of the Net, created a man out of nothing, his works and finally his fake death» Noemalab
«The group members tried to show the world an artist didn't require supposedly divine inspiration and a tortured soul. It was equally important to get the attention of magazines, critics and galleries. Darko Maver and his "work" were a Trojan horse that had successfully been introduced to the art scene» Uri Pasovsky, Haaretz
«The intent is on the contrary to demonstrate how controlling/using the media, old and new ones, and with the complicity of collective excitement for the war in Kosovo, was possible to create a successful artist: from zero to the Venice Biennale in less than a year» Loredana Lipperini, La Repubblica
«If an inexistent artist can become famous in only one year, which seriousness can still pretend the conceited circuit critics-organizers-museums?» Marco Vallora, La Stampa
«The action is not only drawn at criticizing the mechanisms of selection of the art system. On the contrary, it stresses the attention on the artificial construction, on the creation of a collective narration that produces the birth of a myth. The realistic effect produced by this fiction, is based on the intimate knowledge of the mechanisms of narration that are the base of the media reseaux» Marco Deseriis, Rai
«The most interesting thing in all this story, in my opinion, is that it brings out, with the power of the joke, the social nature of artistic production. If someone in whom I trust doesn't certificate the existence and the value of an artist, the artist doesn't exist» Antonio Caronia, l'Unità
«Put it as you want, but in the end the dualism deals always with the same problem: reality, and the representation of itself. Somebody, like Velazquez, has openly proposed the problem, revealing, even though the game of mystery, that the perspectives of representation don't define, they rather invent. The novelty is rather in the fact that the dualism, with all its implications, has overflow in all the other human activities. In the game ones, in politics, even in the worst and tragically concrete of all expressions, war» Gino Castaldo, Musica!
«But Maver's reality is more than semiotic: it's mythopoetic too. With the revelation of his inactuality, a real death and a hundred simulated ones were suddenly transformed into a portal opening to our age's own grotesque political - and ontological - Unconscious. Pan, it turns out, lives» Ada Veen, Mute magazine
«The most interesting evolution is the intersection of hacking with aesthetics researches: to produce a crisis into a system, its own proceedings can be retorted against itself. The tendency is similar to the hacker one: it doesn't matter how big a system can be, it always has an Achille's heel» Gianluca Miscione, Internet News
«Darko Maver confirmed the existence of a place of liberty where even if cumbersome economical and power structures do exist, it is still possible to play and to poke fun at them. As a laugh can hide deep anguishes, also this play can be serious» Maria Mesch, A Rivista
«Thanks to one of their biggest and most cynical frauds, they were even part of the Venice Biennale, which only strengthens their criticism of the art world, both traditional and on-line» Uri Pasovsky, Haaretz
«As some researchers has since long time predicted, the web could be the most clamorous and uncontrolled propagator of fakes that history has ever produced» Gino Castaldo, Musica! |
