Photo above: Sebastian Bieniek performance at the cattle market in Pona, Georgia, 2011.

If you are looking for a flamboyant, subversive and ironic, artist, the German Sebastian Bienienk is ideal.

Always with a discursive stance, this multifaceted man offers different types of work, for in his quest to express something, has explored various languages and styles: he sculpts, paints, writes, makes photo, film, performance and installations.

His works often cruelly mocking the social reality of politics, of existence itself, and even himself, is no problem as cynically displayed in a self, or go out with a ridiculous costume and poster in hand, which is in question (always with humor) the history of mankind.

Sebastian Bieniek performance at the cattle market in Pona, Georgia, 2011.

While on the set of his works can not pinpoint a label identifying it in terms of aesthetics, we can say that in terms of content and its management, we can identify a constant, he is basically a conceptual artist.

It is known that a work is Bieniek when a critical representation, crude, openly, and sometimes blatant caricature of our world, his art mostly conceptual, transgresses, provokes laughter, but also uncomforted. On other occasions, created from the error, as in his series "Bilderverbrenung" registers creative crisis he suffered in 1998, in which the artist is seen burning his paintings of the time, because he never indulged.

We can cite among his extravagances, the installation "Here lies my Breath" in which he placed 5000 white balloons, each of whom scored the date, hour and minute that was inflated. Another time installed a hundred dollar bill in an urn on the subway, which work titled "The stolen 100 DM".

In 20 years of career, projecting his series of paintings "Bears Drawings" and "Homeland Security", the latter, imitates the beauty magazine covers but with faces mutilated women, victims of cultural mores.

Fahrenheit-Magazine (02.10.2012)