In March 2020, Daniel Chluba responded to the fears and absurdities of the lockdown with a striking and humorous video that remains unforgettable. His artificial figure, wearing a bread mask with a nose length corresponding to the average size of German penises, grotesquely staged the irrational excesses of Germany's pandemic anxieties. Phallic protection with toilet paper—Chluba's work became a sharp parody of a society oscillating between irrational behavior and sheer fear. This video, published on the YouTube channel of the BARK BERLIN GALLERY, serves as a poignant critique of this extraordinary time. Now, we witness the birth of Finocchio: a head birth, a grotesque living entity emerging from itself. Finocchio is a transformation, a hybrid being that balances humor and disquiet, confronting viewers with themes such as rebirth, isolation, and human fragility.

The birth of Finocchio unfolds through a series of surreal, almost visceral acts. In one scene, the artist, wrapped in reflective foil, interacts with a strange metallic cocoon. Close-up shots show gloved hands kneading an amorphous red substance reminiscent of organic tissue or embryonic material. The climax of this performance is the “hatching” – a grotesque humanoid figure emerges, part organic, part mechanical, utterly alien. Chluba creates a visual and auditory language that merges humor and discomfort, inviting the audience to contemplate the boundaries of the human and the grotesque.

Chluba’s work aligns with the tradition of the grotesque, which has long been explored in art history, notably in Hieronymus Bosch’s surreal allegorical figures. The exaggerated forms and absurdity of his performance recall the Dadaist movement, particularly artists like Hans Arp and Max Ernst, who questioned conventions of beauty and rationality. The reflective, foil-like materials evoke associations with Jeff Koons’ shiny surfaces, while the absurdity of the performance echoes Paul McCarthy’s socially critical works. The themes of rebirth and transformation tie into historical interpretations of the grotesque as a space of renewal. Chluba reimagines the grotesque as a means to confront societal fears, deconstructing, distorting, and reinterpreting the human form.

The birth of Finocchio is more than a physical act – it symbolically represents a cultural rebirth emerging from the uncertainty of the pandemic era. The video installation is presented against a vibrant yellow backdrop, flanked by two monumental speakers. The intense color contrasts sharply with the cool, metallic aesthetics of the performance, heightening the visual impact of the video. The speakers create an immersive soundscape that amplifies the noises of the birth and the grotesque atmosphere of the scene. This installation blurs the line between spectacle and critique, challenging viewers to find a balance between discomfort and humor.

Chluba’s work reflects societal absurdities, particularly in times of crisis. Through the grotesque bread mask and the surreal birth of Finocchio, he explores themes of fear, isolation, and humanity's ability to laugh at itself. Finocchio is both a critique and a celebration of being human – a figure embodying our vulnerability, humor, and resilience. The installation, exhibited at Verena Kerfin Gallery, offers visitors the chance to immerse themselves in the disturbing yet captivating world of Daniel Chluba’s Finocchio. More than a performance, this piece is a mirror of our collective subconscious, emerging from the cocoon of pandemic anxieties into something entirely new.