And yet another aspect: their presence is of a different nature. They are irritating not because they reflect a particular period (that is only the case for a handful of art historians) but rather that they open a different relationship to time as such: they extend from one time dimension into another – they are dead and yet immortal. How mortal than is the viewer in comparision. Is there another confrontation which so clearly articulates the feeling of one's own accidentalness and mortality?

The artist in Italy is in a dilemma. Caught between the virtual, ubiquitous contemporary images and the real, isolated old ones. Between the 'living' culture, universally communicable world pictures, the large complex media brain network and the 'dead' culture at best a rememberance that remembering once might have been significant.

Milan Kunc is consequent in avoiding cultural history's illusion of sublime greatness which shrouds old paintings like a sticky transparent substance. He combines the two worlds confronting the Italian artist not by stratifying them but by allowing them to integrate in complementary decoration. That's how it happens that an antique torso lands in a ceramic-tiled bathroom and that another smokes with a cigarette holder. That, of course is humorous. Had a design artist made a postcard out of it, the enlightened message of the corroded figure sitting with a rubber stem would seem to be: "Smoking is dangerous to your health".

Milan Kuncs work is slightly but decisevly different: he exposes the postcard perspective as such – our own viewers perspective which sweeps over the surface. In contrast to the Neo-Pop Duo Fischli & Weiss with their room permeating postcard installation in Munich and Düsseldorf, Milan Kunc constructs large art formates and shows what happens when our stylized TV-consciousness meets with it's cultural opposite: the grand, serious old art.