{"id":10721,"date":"2026-01-13T12:45:51","date_gmt":"2026-01-13T12:45:51","guid":{"rendered":"https:\/\/ato.vision\/magazine\/?p=10721"},"modified":"2026-01-14T08:18:36","modified_gmt":"2026-01-14T08:18:36","slug":"archie-rand-the-return-of-the-repressed-image","status":"publish","type":"post","link":"https:\/\/ato.vision\/magazine\/archie-rand-the-return-of-the-repressed-image\/","title":{"rendered":"Archie Rand: The Return of the Repressed Image"},"content":{"rendered":"\t\t
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Across the expansive rooms of Berlin\u2019s CFA gallery, Archie Rand\u2019s paintings are dreamlike cynosures demanding exacting focus on the most minuscule and seemingly irrelevant details. Two walls, for example, just as you enter the gallery, are hung with modestly-sized works (30 in total)\u2014all invoking a surreal medley of improbable collisions of objects and events, and all of which are untitled. As the exhibition branches off to the back of the gallery, the 12 works the show is titled after, Sons<\/i>, have a strangely magisterial quality about them\u2014perhaps due to the fact that they mingle disturbingly militaristic themes with a cartoon fantasia color palette. Although they\u2019re different bodies of work, the fact that Rand\u2019s untitled pieces are being shown alongside his paintings made after Francisco de Zurbar\u00e1n\u2019s Jacob and His Twelve Sons<\/i> suggests some kind of overlap in methodology, if not theme.<\/p>\n

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Archie Rand, Untitled<\/em> Series<\/em>, 2024, exhibition view, CFA Berlin \u00a9 CFA Gallery.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Viewing these works, it\u2019s important to note the dreamlike ambience of each painting. The uncanny landscapes of heraldic color, and the way each image seems to spatially unmap and delocalize itself, uprooting the work from anything like a recognizable place. This dislocation is achieved by way of the very gestures and pictorial strategies that ordinarily make representations of place possible. For all the airs of absurdism and comedy infusing these works, the viewer is left in the peculiar position of being a spectator\u2019s spectator. Cut off from time as much as place, de jure<\/i> if not de facto<\/i>, one feels softly assaulted by these carnivalesque images that are always happening in medias res<\/i>.<\/p>\n

In the 12 paintings comprising Sons<\/i> (each, following Zurbar\u00e1n\u2019s lead, titled after one of Jacob\u2019s Biblical sons), the sense of whimsy and pathos derives largely from how foreign the imagery feels. As poet and art critic Barry Schwabsky points out in his excellent text accompanying the exhibition, Rand\u2019s imagination filters comic books, pulp fiction, and even westerns from a time when these kinds of things were more integral to the collective consciousness of American pop culture.<\/p>\n

Having been more or less submerged by digital media or films that endlessly pay homage to them\u2014from Instagram pages devoted to monster comics to movies by Quentin Tarantino\u2014Rand\u2019s reworking of Zurbar\u00e1n\u2019s imagery in terms of mid-20th-century nostalgia smacks of what Freud would call \u201cthe return of the repressed.\u201d<\/p>\n

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Archie Rand, Zebulon<\/em>, 2019 \u00a9 Courtesy of the artist\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Soldered to the Biblical armature Rand drapes his ludic imagery across, this return\u2014which leans on heroism generally\u2014takes on a bathetic aura in light of the absolutely hopeless situations many of the figures in Rand\u2019s paintings seem to discover themselves in. In Zebulon<\/i> (2019), in particular, horror abounds as a medieval soldier (presumably a stand-in for Zebulon) flees the walls of a castle, while other soldiers behind him are visibly routed from their onslaught. Even the fish at the bottom of the canvas, which one might think would otherwise be symbolic and decorative, seems alarmed by the sheer declivity the general state of things has snowballed into.<\/p>

Rand\u2019s method of painting here is a way of redistributing imagery that feels strange in itself. If these canvases could talk, if we could overhear them thinking, they would probably be horrified by their own strangeness. And yet the works are not without a decidedly ludological overtone\u2014that is, a logic borrowed from games, from systems governed by rules the viewer can intuit but never fully access. This is so if only because Rand refuses to let the viewer in completely. Standing before each of Rand\u2019s Sons<\/i>, everything transpires as though the viewer were witnessing the clamor of someone else\u2019s dreams, shot through with all the warmth and intimacy that dreams recall upon awaking. As an outsider to this state of consciousness, as though gripped from within, he or she remains a sort of passive bystander, unlocking the doors to a universe that is only partially familiar.<\/p>

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Archie Rand, Issachar<\/em>, 2019 \u00a9 Courtesy of the artist<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Yet what distinguishes these works from, say, Magritte, is how period-piece nostalgia (comics, westerns, anime) readily elides into a sense of temporality\u2014of activities unfolding over time\u2014suggested by the partitionings Rand imposes on his pictures. Where Magritte might use a bowler hat or a green apple as a clever form of misdirection, Rand\u2019s allusions to bygone media and the messages or tropes they once gave rise to function as an exposition of the sounding principle media itself brings to bear upon our lives. In this sense, \u201cmedia\u201d (in its univocal sense) is understood not as content but as condition. From the theme song to Super Mario Bros.<\/i>\u00a0to epoch-making moments of reportage, how something appears\u2014how it was mediated\u2014is just as important as the message or content it carries.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Archie Rand, Simeon<\/em>, 2019 \u00a9 Courtesy of the artist<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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From this, the weird perspectives at play in a painting like Simeon<\/i>\u2014particularly in the plague doctor and the boy gripping a stick and some other mysterious object in his ghostly arthritic hand\u2014can allude to times quite apart from the experience of time synthesized in the painting itself. Simeon<\/i> thematizes a medley of battles, both martial and survivalist, that have appeared across our Western historical timelines. It also offers a way of revisiting, restaging, or reimagining\u2014especially with regard to how images constellate ideas\u2014how Zurbar\u00e1n\u2019s vision of Jacob and His Twelve Sons<\/i> might appear today, at a moment when Judaism, often discussed through the lens of Zionism, is widely invoked but rarely understood in its historical or theological complexity.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Jeffrey Grunthaner examines how Archie Rand\u2019s exhibition \u201cSons\u201d at CFA Berlin stages dreamlike spectatorship, mobilizes mid-twentieth-century popular media, and reconfigures Biblical history through painterly dislocation.
\nReading time: 6 min<\/p>\n","protected":false},"author":53,"featured_media":10722,"comment_status":"closed","ping_status":"open","sticky":false,"template":"elementor_theme","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[56],"tags":[698,700,706,565,576,708,707,701,223,709,704,381,699,703,710,702,375,705],"class_list":["post-10721","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-allebeitraege","tag-archie-rand","tag-bibelgeschichte","tag-cfa-berlin","tag-crisp","tag-crisp-magazin","tag-francisco-de-zurbaran","tag-jeffrey-grunthaner","tag-kunstausstellung-berlin","tag-kunstkritik","tag-mediengeschichte","tag-mid-century-nostalgie","tag-popkultur","tag-sons","tag-surrealismus","tag-symbolik","tag-traumlogik","tag-zeitgenoessische-kunst","tag-zeitgenoessische-malerei"],"acf":[],"yoast_head":"\nArchie Rand: The Return of the Repressed Image \u2013 Crisp Magazin<\/title>\n<meta name=\"description\" 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