Sebastian Schager „Tinder 2.0 - Male" Archival pigment print on Hahnemühle Bamboo paper (, 90% bamboo fibres, 10% cotton) , 2020
Sebastian Schager „Tinder 2.0 - Male" Archival pigment print on Hahnemühle Bamboo paper (, 90% bamboo fibres, 10% cotton) , 2020
Sebastian Schager „Tinder 2.0 - Male" Archival pigment print on Hahnemühle Bamboo paper (, 90% bamboo fibres, 10% cotton) , 2020
Sebastian Schager „Tinder 2.0 - Male" Archival pigment print on Hahnemühle Bamboo paper (, 90% bamboo fibres, 10% cotton) , 2020
  • Sebastian Schager „Tinder 2.0 - Male" Archival pigment print on Hahnemühle Bamboo paper (, 90% bamboo fibres, 10% cotton) , 2020
  • Sebastian Schager „Tinder 2.0 - Male" Archival pigment print on Hahnemühle Bamboo paper (, 90% bamboo fibres, 10% cotton) , 2020
  • Sebastian Schager „Tinder 2.0 - Male" Archival pigment print on Hahnemühle Bamboo paper (, 90% bamboo fibres, 10% cotton) , 2020
  • Sebastian Schager „Tinder 2.0 - Male" Archival pigment print on Hahnemühle Bamboo paper (, 90% bamboo fibres, 10% cotton) , 2020

Sebi Schager (AT) – Tinder 2.0 – His

150,00 € inc. Vat

Sebi Schager (AT)
“Tinder 2.0 – His”, 2020
Archival pigment print on Hahnemühle Bamboo paper (290g/m², 90% bamboo, 10% cotton)
50x40cm, edition of 21
Signed and numbered by the artist.

The Art History Mesh-ups begin where most appropriation art stops: canonical paintings are reproduced on canvas, then physically reworked with stencils, spray paint, and 24k gold leaf — the intervention irreversible, the original and the contemporary sharing the same canvas. Some reworked canvases are rephotographed and produced as archival pigment prints, carrying the collision from studio to edition.

Tinder 2.0 - His — Raphael's Portrait of Baldassare Castiglione (c. 1514-15), the Renaissance ideal of the cultured gentleman, calm gaze, fur-trimmed coat, now in the Louvre. Castiglione literally wrote the book on social graces — Il Libro del Cortegiano (1528) taught Europe how to perform charm. In the Mesh-up, he wears a transparent COVID face shield and a set of Tinder buttons line up below: rewind, cross, heart, star. The "2.0" frames it as a software update: the courtier's portrait, once meant to signal breeding and refinement, now reduced to a swipeable thumbnail. Five centuries later the performance runs through an app that decides in milliseconds what Castiglione spent chapters describing. Even the most composed Renaissance man looks uncertain behind medical plastic. Made as a pair with its Hers counterpart, the works form a diptych of algorithmic dating — old masters reframed as matches.

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About the artist

artis.love/originals

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