des hasen tod (part of a diptychon with Bernard Bieling) 2019

Editor: This is "des hasen tod," or "The Death of the Hare," a mixed-media piece by Malte Sonnenfeld from 2019. The figure in a rabbit mask strikes a rather unsettling pose; the metallic highlights and the drippy paint below create an ominous atmosphere. What's your take on this? Curator: Indeed. The image is striking and taps into potent cultural symbols. Given Sonnenfeld's engagement with street art and graffiti, I read the hare not merely as a subject, but as a contested image—a potential commentary on the socio-political "death" of innocence, perhaps? Note how the mask almost resembles a skull, a loaded symbol. Do you think that alters the work's narrative? Editor: It definitely darkens the interpretation, especially juxtaposed against the seeming innocence we associate with rabbits. The piece feels very much like it's engaging in some kind of subversive political commentary. Curator: Precisely. Also, observe how Sonnenfeld deploys techniques reminiscent of street art—the layered textures, the raw edges, and that intriguing "Schmelo?" scrawled on the canvas—evoking the ephemerality and social critique often associated with unsanctioned public art. Consider how the institutional gallery space re-contextualizes this "street" aesthetic; how does this shift its meaning and accessibility? Editor: I hadn't thought about the gallery's impact. Displaying street art within a gallery creates a fascinating dialogue about value and context. Curator: Exactly! Sonnenfeld plays with that tension. This artwork, seemingly simple at first glance, offers a nuanced exploration of societal themes and the very platforms on which art is produced and consumed. Editor: I learned a lot! I'll never see rabbits the same way. Curator: And that's the power of art, isn't it?