Biography
Com&Com was founded in 1997 by Marcus Gossolt (1969) and Johannes M. Hedinger (1971). They live and work in Zurich, St. Gallen, and wherever their projects take them. A number of projects by the multidisciplinary artist duo have achieved international recognition, including the 2001 film project C-Files: Tell Saga, which was invited by Harald Szeemann to the Venice Biennial; 2004's Mocmoc, a monument - and a scandal - that ended in a referendum; and Solo exhibitions in the Kunsthaus Zürich (2000) and Kunstwerke Berlin (2003). So far, Com&Com have taken part in more than 100 exhibitions in 17 countries, made 15 short films, published eight CDs and six books, and staged a musical. The repertoire of the many-sided artists also includes curating of exhibitions, regular lectures, creative services and scientific (art-) researches.
At the beginning, the name Com&Com stood for Commercial Communication, but the direction the two artists have taken has developed and evolved since that time. Their work falls roughly into four phases:
I
Their early work (1997-2002) offers multimedia parodies that ironically deconstruct such concepts such as homeland and myth, advertising, pop, and the star system. The techniques employed include citation, appropriate, sampling, and ready-mades; while the works make use of persiflage, fakes, and manipulation. (Ex.: C-Files: Tell Saga (2000), Side By Side (2002), Tell Star (2002)).
II
In the creative period that followed (2003-2007), Com&Com developed complex communication projects that use targeted participation, provocation, and attention-getting strategies that extend beyond the artistic context to engage society as a whole in a dialog. The issues explored include the idea of art in its widest sense, the ways in which legends are created, and how art constructs identity. (Ex.: Mocmoc (2003-07), Gugusdada (2004-07)). Com&Com also began teaching and lecturing during this period.
III
In the transitional phase (2005-2008), Com&Com moved away from media and concept art to both participate in collaborative projects and begin working on singular, original artworks. These works consider such topics as beauty, love, life, and the search for meaning. (Ex.: The Big One (2005-07), Google Earth Art (2008)).
IV
In 2009, Com&Com broke entirely with irony and provocation. Their post-ironic manifesto programmatically marks this turning point. In it, Com&Com call us to rediscover the beauty in simple things and day-to-day life ("Beauty is the new punk"), to honor the authentic, and to celebrate the creativity and uniqueness of every individual. Central aspects of post-ironic works and actions are curiosity, sustainability, social responsibility, and meaning. This new direction is evident both in individual works and collaborative and participatory projects such as Making Ideas (2009-10) and the discourse and education project Postirony (2009-10).
At the beginning, the name Com&Com stood for Commercial Communication, but the direction the two artists have taken has developed and evolved since that time. Their work falls roughly into four phases:
I
Their early work (1997-2002) offers multimedia parodies that ironically deconstruct such concepts such as homeland and myth, advertising, pop, and the star system. The techniques employed include citation, appropriate, sampling, and ready-mades; while the works make use of persiflage, fakes, and manipulation. (Ex.: C-Files: Tell Saga (2000), Side By Side (2002), Tell Star (2002)).
II
In the creative period that followed (2003-2007), Com&Com developed complex communication projects that use targeted participation, provocation, and attention-getting strategies that extend beyond the artistic context to engage society as a whole in a dialog. The issues explored include the idea of art in its widest sense, the ways in which legends are created, and how art constructs identity. (Ex.: Mocmoc (2003-07), Gugusdada (2004-07)). Com&Com also began teaching and lecturing during this period.
III
In the transitional phase (2005-2008), Com&Com moved away from media and concept art to both participate in collaborative projects and begin working on singular, original artworks. These works consider such topics as beauty, love, life, and the search for meaning. (Ex.: The Big One (2005-07), Google Earth Art (2008)).
IV
In 2009, Com&Com broke entirely with irony and provocation. Their post-ironic manifesto programmatically marks this turning point. In it, Com&Com call us to rediscover the beauty in simple things and day-to-day life ("Beauty is the new punk"), to honor the authentic, and to celebrate the creativity and uniqueness of every individual. Central aspects of post-ironic works and actions are curiosity, sustainability, social responsibility, and meaning. This new direction is evident both in individual works and collaborative and participatory projects such as Making Ideas (2009-10) and the discourse and education project Postirony (2009-10).
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