has been for sale for some time, as you have seen. The maintenance and ongoing development to keep our non-profit and idealistic platform for contemporary art running and safe from hackers etc. costs money that is no longer there. Because of small investments that are necessary now and the running costs, we will have to shut down with a heavy heart at the beginning of summer on June 21.
, Fallen Princesses series was born in 2007 out of deep personal pain, when she raged against the “happily ever after” motif we are spoon fed since childhood. The series creates metaphor out of the myths of fairy tales, forcing the viewer to contemplate real life: failed dreams, addiction, obesity, Cancer, the extinction of indigenous culture, pollution, war and the fallacy of chasing eternal youth. By embracing the textures and colors created by Walt Disney, which built a multi-billion dollar empire exploiting these fairy tales, Fallen Princesses exposes the consumerism that has negated the morality of these ancient parables. It also begs the question, "How do we define the concept of ‘good’? and how do we live a ‘good’ life?”
In The Dollhouse, 2012 plays out in a 10 part sequential narrative, photographed in a custom built adult sized dollhouse. This time Dina takes on one of the most powerful symbols of Western culture: Barbie and Ken, the beloved and idealized American couple. More than any other childhood construct, Barbie represents the concept that `Beauty´ is the apex trait and is necessary to attain power and happiness. Her co-star Ken, who has been trapped in an imposed marriage for over three decades, discovers his authentic self and finally expresses his individuality. Barbie´s fate is grim in Goldstein´s hands, as she breaks down and confronts her own value and fleeting relevance.
The work is a visual analysis of religious faith within the context of the modern forces of technology, science and secularism. The series plays with narrative and religious iconography in order to communicate how organized belief has become twisted within a global framework driven by consumerism and greed. The project challenges the viewer — religious or secular — to embark on a journey of self-reflection as they contemplate the relevance of dogma in modernity.
