If you don't know I am not going to tell you, brother!This discipline begins with the situations and characters of melodrama and then, through its own devices, turns them into a game. It's the fundaments of the foundation of a world, the ontological bartering, that produces that performance which, in turn, produces the audience. This spectacle uses cultural and environmental influences in society to influence the behaviors of the audience. A group conformity is created by the old dramatic conflicts, divide and conquer. It makes contact with its spectators by treating and engaging them as emancipated experts directly in its play, in affirming and challenging cultural norms and in believing and disbelieving in what it sees at the same time. They don't so much suspend disbelief as they sustain it while looking for moments in which to believe. Therefore he is the hero or the villain of the drama, a sort of metaphysical sign, a statue of believe, the pure gesture that unveils the form of a Justice which is at last intelligible, a body as political palette for their own meanings and cultural implications in a social arena.
Born 1982 w. Dutch/German nationality; Diploma 2010 at Academy of Arts and Design Offenbach.Exhibitions, projects, lectures, workshops and screenings at Center for Mediaart Werkleitz, Halle; Cabaret Voltaire, Zürich; the The Lodge Gallery, New York; Galerie5020, Salzburg; Theater Gessnerallee, Zürich; Galerie KUB, Leipzig; Xin Dan Wei, Shanghai; Deutsches Filmmuseum, Frankfurt; DokFest, Kassel; Berliner Kunstsalon, Berlin; Court Métrages, Clermont Ferrand; International Human Rights Film Festival, Nuremberg; Arse Elektronika, San Francisco; Athens Video Art Festival, Athen; Künstlerhaus, Wien; Galerie Greulich, Frankfurt; Kunstraum Pro Arte, Hallein; Binghamton University, Binghamton; Videonale, Bonn; Visual Voice Gallery, Montreal; Art von Frei, Berlin; Center for contemporary Art, Plovdiv.— www.josdiegel.de