Permanent Vacation is the name of the exhibition that the German artist Felix Weinold born in 1960 in Augsburg presents. The title of the exhibition is inspired on Jim Jarmusch film; as the characters of Jarmusch’s films, those of Felix Weinold’s works seem to be distant and out of context. This impression is the result of the search that Weinold uses to develop his works: everything can be the start and the base for an image, all the art history is a mine for him. He finds his reasons in Internet, in newspapers, magazines, graphic collections, biology books, historic publications. After the process of appropriating and processing the material is fully integrated. A great part of the work abstraction comes out from the tension of the different elements that form it, but it also forms an amalgam of the components that subordinate under the speech of the artist. Nevertheless the artist says that his works are not figurative, what it is irritating, because the spectator can recognise clearly figurative and real elements.
Weinold refers to the work as an autonomous space, that above all is a composition of elements with tension between classical disagreements: line-space, big-small, transparent-opaque, structure-plane, hot-cold, etc.
The mixing of different styles refers to an essential theme of the postmodern art: art always talks – also or completely- about art, and HOW is more relevant than WHAT.
Baselitz directs the spectator’s attention to the IMAGE instead of to the REASON; on the same way Weinold interrupts some parts of the work purposely (with reasons put on top), he removes others (with colour flat surfaces) or he collects elements to deface the image. Weinold uses the same technique in his photographs. Although what is important for him is not the theme but the miracle of a good work.

Power and its symbols in contemporary culture are both origin and end. Some do not appear without the other.
Icono-narrator’s experience in digital aesthetics is the mechanism used. The intensity level fluctuates between high and low tones, and so on. Conceptual fractures and content arise with the natural methodology of television screen; creating typical-atypical situations, distorting reality and focusing illusion. In this visual mental zapping we observe the fragmentariness that we are subjected, but above all we understand the cultural predation we support.
Some institutions use categorizations that touch the most basic physiological incontinence. Perhaps that is why, in some exhibitions, we touch very closely “acts of faith” shared between artist and audience. “Acts of Faith” difficult to label but fascinating at the bottom. Why not?