KRISTIAN VON HORNSLETH
Kristian Von Hornsleth is a Danish-Scot conceptual artist known world-wide for his potent form of counterculturalism.
His central ethos is the subversion of the power of advertising and its abuse of the image of woman.
To that end, he uses brash eroticism to expose the subliminal intent of advertising, while imposing his own name symbolically as an alternative brand.
His popular stance against the art establishment and postmodernism makes him arguably the most important artistic pariahs of our time.
Hornsleth is also the most misunderstood artist of his generation, despite his acute intellect, eloquent polemics, philosophies, interventions, situations
and happenings,which he uses as vehicles for exposing the ills of society. Most notable among his situational works is his
controversial Hornsleth Village Project Uganda, in which destitute Ugandan villagers adopted his name in exchange for livestock.
Though it attracted virulent criticism from the international media, the Village Project managed to expose
the rampant corruption and negligence of African governments.
Ironically, Hornsleth also epitomises symbiosis between art and big industry. He has branded luxury cars,
including Morgan, Lamborghini, Ducati motorbikes, clothing and beverage brands, in Denmark and elsewhere. His highly successful dialectical happening,
Hornsleth Arms InvestmentCorporation, sells shares in big companies that, trade wittingly or unwittingly in arms. While exposing the dark side-effects of
capitalism, this project also makes money for its investors, thus showing the conditionality of morality.
In November, 2013, Hornsleth completed his most momentous humanistic project of all time: the Deep StorageProject, a star-shaped capsule containing
human DNA, submersed in the Mariana’s Trench for the purpose of human
resurrection after the next great cataclysm.A land-based satellite of Deep Storage is mounted in Vejle, Denmark, as its ‘signpost’.
Hornsleth studied Geology at University of Copenhagen (1983-86), before switching to an MA in Architecture
at The Royal Danish Academy of Fine Art, School of Architecture, where he found his artistic calling.
Hornsleth’s output is underpinned by his own philosophical theory, Futilism, which proposes the utilization of discarded matter or noise,
artistically, socially and politically, as a way round old stations of thought and action.
After a long spell in London, England, he moved back to Denmark , from where he continues to challenge the staus quo with provocative happenings.