The Concept of "borrowed plumes" need not be understood as a negative characteristic of an artist´s activity today;in fact it is coming to be seen as a condition of art: especially because the formal distinctions, stylistic ones for example,are being given less weight than the intentional, or discursive thrust of the artwork. So when Lotte Konow Lund,in the 29-sheet series Let it go-The Dürer drawings, with its specific model in the  German Renaissance master, adds angels´wings to her thinly  contoured up-yo-the minute lines, this is a deliberate, pointedly gross clash of aetsthetics.No important artists draw today like Alberct Dürer- they simply can´t -but the point is anyway elsewhere; as for examplein Cindy  Sherman´s work, one deciphers the mise-en-scéne of the tableau rather than attempting to grasp it with theeyes of a taxidermist.

The art-historical models in the 29 sheets should be compared to stage sets, to scenery in a work which its extentand a basic narrative structure that approaches the loop, points towards performance art- and not at least towards Lotte Konow Lund´s own video productions. Directed role-playing with accompanying props, which in principle consists ofDürer´s The Matyrdom of St. Sebastian from 1499, but wich are transformed along the way with loans from the film divaMarilyn Monroe, a feminist saint like Lynda Benglis and the high priest of ambiguity Marcel Duchamp in the role of RroseSélavy. The last of these in itself a mise-enscéne and an iconic work as regards both the frailty of the vessel and theauthorical subject.

And after all, this whole postmodern theatre could probably have been played out in media, but the clashes and thechimeric constructions-the whole fictionalization of the baggage from the great tradition-are manifested with great clarity in the drawing on the paper. Dislocated hips, dislocated history, dislocated gender, the dislocated status of the viewer-and thus in a certain sense also dislocated drawing. An assault of the now, in a medium of the now, on the whole westerniconology that we have that we have been able to look up since 1593 in the Italian Cesare Ripa´s Iconologia. A catalogueof the conceptual coordinates of the western world, inspiration with strings attached. Or as Konow Lund in 1997 called avideo, I know 100 ways to be a good girl.