‘Vostell’s work is in fact literally cited in Mohino’s “I Can’t Get Your DEPRESSION Out of My Head”, where the title makes explicit reference to Vostell’s “Endogenous Depression”, and where Mohino’s installation, with its collection of flat computer screens, alludes to the accumulation of television monitors in Vostell’s pioneering video installation (while the scattered refuse and detritus recalls Vostell’s hurled blobs of cement) [...] But [...] Mohino’s connection to Vostell’s art goes beyond these literal, direct and surface citations. Vostell, like his Fluxus peers and colleagues in Happenings, was dedicated above all to connecting art and life, to glorying in the art that is in life as well as in the life that is in art, to an artistic stance expressed by the motto “Art is life = Life is Art.”Mohino, too, connects art to life – but with a darker vision, more critical and less epiphanic, more analytical and less beatific. Where Vostell employs televisions and automobiles, Mohino employs computer games and insidious consumer philosophy: where Vostell salvages fading customs of local villages, Mohino scratches at the surface of the hidden political customs of the globalized village; and where Vostell exalts the idea of ‘transhumance’, Mohino gives form to deep-seated doubts about the assumptions embedded in our trans-national political system.’