In her exhibition DIE HARD she tells a story about the asymmetrical power structures in which people in their social environment are reduced to only their bodies and looks. The causes lie hidden deep down in the structure of our society, with interpersonal objectification patterns often being defined and influenced by instances of power. According to French social theorist Michel Foucault, human behavior in late-capitalist society is controlled by the government on the basis of different principles and in different forms. However, Foucault’s concept of ‘government’ does not refer to the state’s ruling power, but rather to governing people in the sense of steering, controlling and leading them. In addition to these internalized exercises of power and the socially communicated expectations, the power of the media should not be underestimated. Consequently, individuals also develop a role identity through the media, an imaginary image of themselves, what they should look like and how they should act in social situations.

In her works DIE HARD and DIE HARDER, Veronika Merklein identifies with action hero Bruce Willis, who as maverick police officer John McClane wins his hopeless fight against dangerous terrorists in the action movie Die Hard. The artist compares herself to a heroine in her daily struggle against prejudice and stereotypes of fat people. Fries and ketchup reflect deep-rooted clichés implying that fat people only consume fast food. Their internal wounds are shown to the outside world and can be seen in the form of large ketchup-red stains on the white T-shirt. With sharp wit and a touch of self-irony, she mocks those who, lacking critical awareness, succumb to the influence of slogans, blindly submitting to supermarket chains (like Edeka’s “Eatkarus” campaign from 2017), corporations (such as Novo Nordisk), doctors, nutritionists, and beauty consultants.

Constantly being judged by others merely because of one’s own body causes an imposed feeling of guilt. That is why an insecure person often hides like a criminal when eating. Merklein addresses eating as a criminal act in her piece Im Keller (In the basement) and formally draws upon Cindy Sherman’s series of photographs Untitled Film Stills. Merklein’s large-format photography shows the same narration and reaction to something outside the picture. This reflects the look, the body movement, the basement light and the theatrical characterization of those presented, with a stronger focus on the characterization than on the plot itself. The viewer may assume a certain unmasking of women (in the American murder mysteries of the 1940s), liberation and emancipation from social constraints and valid norms. In film noir style, two vicious anti-heroes appear. They cynically eat up all the salad and drink all the water.