Installation view: Raskin/Hauptman: Kreigswichtig, 2010, left to right, Lewis Gun, II, 2010
balsa wood, plywood, acrylic paint, wool, 54 x 45 x 11 inches; Still, 2010, Collage (colored paper, graphite, and polyvinyl adhesive), 22 x 28 inches ; Flying Fortress, 2010. Collage (colored paper, graphite, and polyvinyl adhesive), 22 x 28 inches
Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010
Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010
Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010
Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010
Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010
Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010Raskin/Hauptman: Kriegswichtig, Reception, Berlin, 2010
While researching the United States Strategic Bombing Survey, a document produced to analyze the efficacy of aerial bombardments in the European and Pacific theaters during WWII and the "Speer Report" which tracked the physiological effects of bombing on German civilians, Raskin grappled with a spiritual and intellectual conflict: why create representations of violence they wished did not exist? Inspired by W.G. Sebald's complete works, the artist decided to deepen their Reiki practice in the direction of Germans who suffered during WWII. With this in mind, they created a two-person show at Reception Gallery in Berlin which presented Raskin's long-term alter ego Herr Dr. Wolfgang Hauptman as the artist behind chakra paintings charged with healing energy alongside Raskin's violent representations of gunship weaponry. Hauptman's chakra paintings synthesize graphs from the Speer Report with geometric images that the artist imagined during their Reiki charging. This show was Raskin's first attempt at using the mechanisms of a gallery exhibition to trouble the myth of the individual artist and thereby examine the ethics of representing violence.
Naval ammunitions, light infantry ammunition, tank gun ammunition, first (root) chakra, 2010. Oil on linen, 19 x 18 ½ inches.
Landmines, booby traps, and hand grenades, bazookas and shells, second chakra, 2010. Oil on linen, 26 x 17 inches
Total shell production, anti-aircraft, field guns, mortars (7.5 cm to 21 cm (excluding bazookas) third (solar plexus) chakra, 2010. Oil on linen. 32 x 20 inches
Anti-personnel bombs, incendiaries, anti-aircraft ammunition, fourth (heart) chakra, 2010. Oil on linen. 26 ¼ x 18 ½ inches
Heavy bombs, light infantry ammunition, multi-barrel rocket guns, fifth (throat) chakra, 2010. Oil on linen.20 x 15 ½ inches
Hand grenades, landmines, booby traps, bazookas, mortars, artillery shells, rocket shells, smoke shells and flares, sixth (third eye) chakra, 2010. Oil on linen, 36 x 22
Total shell production, anti-aircraft ammunition, anti-aircraft guns, seventh (crown) chakra, 2010. Oil on linen, 30 x 18 ½ inches.
Still, 2010, Collage (colored paper, graphite, and polyvinyl adhesive), 22 x 28 inches
Flying Fortress, 2010. Collage (colored paper, graphite, and polyvinyl adhesive), 22 x 28 inches
Dog Fight, 2010. Collage (colored paper, graphite, and polyvinyl adhesive), 22 x 28 inches