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Reviews

August 5th, 2014

Franz Joseph van der Grinten, significant Beuys collector and co-founder/donor
of the Museum Schloss Moyland, Bedburg-Hau, December 13th 2013:
“I like these works (Mendiola’s three piece hommage to Joseph Beuys). They take up thoughts of Beuys and they do so in a conclusive manner. At the same time the objects stand for themselves as Mendiola’s statements and hit their marks. This is very nicely done.”

Dr. Magdalena Broska, art historian,
academic head of the Adolf Luther Foundation, Krefeld, June 25th 2013:
“The collage is quite absolutely the media of our time, because the past is not really past anymore. Everything is present media-wise, available almost unrestrictedly, and Mendiola knows how to make use of it. Historically aware to a high degree and in a typical postwar German way thinking international, he has it all at his command from the Enlightenment to German Romanticism and to Dada, on to the Beatnik literature, Blues and Bebop Jazz up to the Romanticism of the Woodstock era and the topical pseudo-matter-of-factness. They all cause and penetrate each other. When he composes his pictures in a collagist’s manner, he not only transfers motives from different sources into new contexts, he also thinks and feels simultaneously in various epochs, cultures and currents of art, blends them with stylistic assurance and refracts them with a wide awake view on the present through the prima of Surrealism. This way he creates pictures of emotional power and condensed atmosphere.“

Prof. Klaus Staeck, famous German poster artist,
Principal of the Academy Of Arts, Berlin, March 22nd 2013:
“I think Mendiola’s works, for instance ‘Autobahn Deutschland II – Germany in Search Of The Super Mobber’ or the ‘Captain On The Bridge’, turn out very well, and so does the ‘Reversal Chair’ (prototype).“

Rheinische Post Krefeld, April 28th 2012:
“A ‘Stimulating deceleration’ brings a cup of espresso and a swimming turtle together in one picture. …‘The Eye Pervading The Wall’ the 58 year old artist has called his show with plenty of associations on his mind. Mendiola plays with conceptions, he does not really run his head against a wall, but the alert eye penetrates walls without effort getting into colorful rooms of fantasy. ... In ‘Politics’ a canon shoots eyeballs. In ‘God’s Houses’ a synagogue, a mosque and a church are sinking into snow.”

Westdeutsche Zeitung, Krefeld, Nov. 14th 2011:
“Surreal window views” is the title of … Mojo Mendiola’s exhibition. The 27 works are characterized by colorful aesthetics, the pictures’ language is inspired by Jazz.”

Rheinische Post, Krefeld, May 14th 2011:
“The traces of Psychedelic Art can’t be overlooked, neither Mendiola’s predilection for Gauguin’s juicy colors. But other than the Frenchman who painted tropical paradises, Mendiola pictures social criticism. There’s a crowd of young men at the Café Groppi, a once well known hangout of Cairo intellectuals, showing a card board sign reading ‘demo-cracy’, with the word broken. On a different picture an African musician is shown with a machine gun’s muzzle pointing at his temple. … A finer type of irony is at work when Mendiola … makes a helpless monkey look through the window upon a headless man at the computer.”

Westdeutsche Zeitung, Kempen, Sept. 18th 2010:
„Strong colors meet with ironical hints. Titles like ‘She’s Trying To Kiss Him’ or ‘No Hand – One Foot’ stimulate the observer’s fantasy.”