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101 Master Works



Opus 77

A Kata in the Void of Space without Golden Bird

TDI, 2005, Museum of Modern Martial Art



Reprint of a review with kind permission by the "Magazine for Non Obedient Martial Art".


About the Work

With curiosity and expectation, viewers approach one of the most influential works of art from the 21th century. Getting involved into the composition, the initial feeling of a jumbled mess gives way to a deliberate representation of multilayered statements. The interpretation of the painting is guided by knowledge of the artist's personal background.


A first superficial contemplation shows a diagonal angular shape, which is surrounded by a scattered display of colors and forms. Here the firm order depicts a generalised notion of traditional martial arts, which provides beginners with a first orientation in the budo world. While the representation's rigidity is advantageous at the outset, the regimented style turns more and more into a basis for further exploration of the surroundings, with forms melting, getting exchangeable, and finally blending with the content.


This work is a snapshot in time, where the origin can be deduced by the painting's intrinsic movements. A closer inspection reveals a subtler perspective. In the middle, one perceives the formerly solid martial art, whose forms and content are more and more corrupted and eventually annihilated by the influence of one or multiple antisenseis.


This inherent process of decomposition is based on a narcissistic-hedonistic interdependence philosophy between monarchic delusion and consumers, which is subsumed under the antisenseiism ideogram and substantiated by murky chromatics and mucous shapes generating an odious climate contrasting with the initial association.


At this, the doer, in literature known as an antisensei, attempts to undermine other areas, willing to assume any shape and viewpoint that seem useful to annex foreign color sets.  


Already during the devastation, new styles evolve in parts of the remaining painting, which interact with each other over time and space. Even the monochromatic belt as a former regulatory icon mutates to different emblems, with the cow pat as the most prominent insignia.


While the antisensei domains are characterised by instantaneous adaption to opportunistic axiologies, the traditional spheres are defined by a rigid grammar, which produces megalomaniac resistant artefacts.


Still, a co-occurence of antisensei misconduct with other objects usually causes simmering alienation coupled with simultaneous coddling, which differs from a desirable gentle-energetic chaos by despicable austerity and self-deception.


Empiricism proves here and now that the penetrating conciliatory habit of the hipocrite induces a pandemic circumference of the solipsistic apparition. As a periodic epiphenomenon of vulgar manipulation by inflationary colorings, the fermenting reality escapes as a denounciating verbal fart.


In an immaculate equilibrium system, pure antisensei areas emit only few opportunities for charlatanry, whose very limited colorations have to recognize the bordering club tints as an absolute boundary for their own development.


At no time does the artist deny the possibility of parasitic influences. While some areas indicate the tendency to unadulterated forms and colors, others seem already infected by the creeping doctrine of neo-antisenseiism. Even the at first outside observer is pulled into this desolate mood, which can only be escaped by choosing a completely new starting point for advanced studies of the exhibit.


Similar to the installation "Landscape with Tree and White Belt", the seeming ambiguity of the work simplifies to a unique composition with only one coherent, albeit multidimensional, interpretation, in which the antisensei is portrayed as a rhythm-varying megalomaniac figure, triggering a paint plague, which in turn generates the precondition for his own destruction, after which the power of strength regaining color fantasies will prevail for a further undetermined period of time.


There remains the question of the golden bird, which turns out to be the very answer of the painting. The way, the Do, as the true goal, not recognizable within the artwork but only inferable through the symbiosis of concurrent allusions, is entrusted the role of hope, embodied by the new belt color "Silver".


About the Artist

TDI is founder and influential representative of the "Obstructing Anti-Antisenseiism" style. He became known to a broad audience when his event "Rembrandt before and after the bomb" was forbidden at the very last minute. This attempt to protest against the destruction of the work of old masters by misuse of new technology provoked a simmering conflict between politicians and antisensei lobby on the one side and artists and gun lobby on the other.


After these events, TDI focused his efforts on mentally reproducing the overenergizing process and to generalise from the case study of antisenseis to the entirety of charlatanry. This created a completely new asthetics of verbal-epitasis, which, together with the artist's often self-destructing nature, leads to the de-tabooing of societal mass psychoses.


The artist about himself

When I put a painting by Pollock into the microwave, I realized that the destruction of the superficial reveals the content, setting free a continuum of colors and forms. Since then I am searching for the ippon in visual arts.


2008 SWV