VISCERAL KOOKS alludes to the preoccupation with the supposedly "true" interior, the viscera and the processes of the limbic system - the visceral brain. A “digesting” of the world, its processes and influences, to which the human animal reacts intuitively, emotionally and mentally. On the one hand, the “real world” and, on the other hand, the so-called “virtual flood of images” are processed. From the Passagenwerk to the Internet tunnel, the vision of "eating and being eaten" is imagined. Positioned between attack and flight, the enormous potential of even more pictures is shown and at the same time recorded as a desirable critical ideal state - right up to emptying.
Painting defines itself as turning towards and turning away from a supposedly virtual world. She trusts her actual physical presence. With skatological humor, the physicality of painting, like its masculinity that has come under criticism, is re-represented and critically reflected as an impossible form of gendering. Insoluble questions of the artist's self produce crunching rhymes between the visual and the visceral. Painting functions as a transcultural medium and archaic-anarchic practice in a critical demarcation from film, radio and television: Apa namanja? ( Indonesian. What is the name? What's the name?) The slightly screwed-up eroticism from the backstage area of the art business occasionally leads to the obscene ( old gr.whether + skene, the room behind / against the stage). Something strange happens here, a boost of impulses to an almost complete emptying in arbitrariness and excess. VISCERAL KOOKS want to stop these critical generative luxury processes productively and to expand them critically. Programmatically “weird” and random, VISCERAL KOOKS can be used to create an anagramatic OLIVER KOSSACK.