Speculations on the End of Interieur
18 Apr - 23 May 2009
© Antonia Low
Rondo, 2009
variable | single core wires, cable ties, connector blocks, two kinds of portuguese ceiling lamps, bulbs.
Rondo, 2009
variable | single core wires, cable ties, connector blocks, two kinds of portuguese ceiling lamps, bulbs.
SPECULATIONS ON THE END OF INTERIEUR
a project curated by Susanne Prinz
Artists: Antonia Low, Nairy Baghramian, Paolo Chiasera, Riccardo Previdi, Shannon Bool, Ulf Alminde
Vera Cortês, Art Agency
Opening reception– 17th April, 10 p.m.
Open from the 18th April to the 23rd of May 2009
Tuesday through Friday from 11:00 a.m. to 7:00 p.m.
Saturday from 3:00 to 8:00 p.m.
Not long ago, hardly anyone was interested in those periods of art that were minted by holistic principles and impregnated by utopian ideas as almost all modernist movements up to the 1960s were. Then, particularly in design and architecture, forms and materials more often than not spoke a megalomaniac language of an all encompassing approach to anything from small details in human life to mega-cities. As we know the generally rather optimistic outlook soon became disreputable simply by being used or misused by various political –isms and the increasingly inhospitable and unsocial reality of our (sub-)urban lives. How much questions of design today have regained importance and are considered to have progressive potential is demonstrated by the ideas evolving around the reconstruction of New Orleans. Here design is obviously considered as a vade mecum for the complete political, economical, and ecological catastrophe that followed the destruction of the city by hurricane Catrina.
The long lasting historic deficit of legitimacy in design and architecture has done a lot for the concentration on the aesthetics of the single object and has in fact fetishized it. In the wake of this development all things designed and modernistic became objects of desire. Nevertheless they still hold promises of sociality or at least of utility. Here lies one reason behind the rekindled interest of a whole generation of young artists in the related fields of architecture and design. While searching for relevance that extends beyond their proper genre they dissect the extremely symbolic language of these objects of desire. For many the simple fact that design objects are fetishes that not only turn them into collectables but also carry a message of good taste and an elevated lifestyle is another point of interest. It mirrors the fate of an artwork in consumerist societies where artworks are increasingly rendered into products while products became icons.
Unlike the wide spread routine of quoting highly desirable design directly in one’s own production the artists in this show prefer to relate on an associative level to the canon of good taste.
Shannon Bool’s sculpture, which takes the stripper pole as a point of departure, employs materials typical of the Art Deco period (brass and nickel) not to address issues of sex explicitly, but as reference to period whose decadence and freedom was followed by a period of sexual repression and frustrated desire. As with most of her works, A Perpendicular Expression of a Horizontal Desire is the result of an experimental process – one in which narrative content and sculptural materials merge. The decorative or ornamental elements integrated into the images accompanying the sculpture serve to develop the narrative potential even further, drawing analogies between various levels of reality and disrupting the viewer’s perception of space. Applying an ancient floor mosaic pattern to the photograph portrait of a lascivious beauty, the work also alludes psychological, social and aesthetic concerns, demonstrating Bool’s characteristic use of flatness as a constructed space hovering between perspective and ornament – a quality traceable in many of her other projects as well.
Paolo Chiasera works in a very diverse array of media. His multifarious practice moves from painting to installation and through to performances constructed around historical figures with a personal relevance to the artist. Though his figures are often well-known hero personalities, more often than not, his characters have an undeniably radical, rebellious streak. In one such example, viewers are given a rapid-fire account of one such hero’s creative output: 3 Variationen on Enzo Mari amalgamates 30 years of design history into a single, compressed sculpture, merging three of the renowned Italian designer’s most famous creations into a single object. In doing so, the artist succeeds in addressing not only questions of form but also the problem of the art object as fetish and consumer good in a humorous, light way.
Antonia Low’s fantastical, frenzied light bulb installations are most convincingly described within the vocabulary of classical enlightenment, as they bring its notions of the sublime into a contemporary framework. As Edmund Burke writes in his famed essay A Philosophical Inquiry into the Origin of our Idea of the Sublime and the Beautiful (1757), sublime objects should be "... vast in their dimension..." and "rugged and negligent”. While small, highly polished objects are considered merely beautiful, the sublime always carries with it a whiff of danger without ever becoming a real threat. Somehow, Low’s room-filling, ominously wired, meandering electrical trappings seem to fit the bill perfectly.
For Riccardo Previdi, the exhibited series of ‘fans’ is in many ways par for the course. Just as many of this young Italian artist’s works take up the ideas of classical modernism and apply them to forms of applied art, in these new sculptures, he manages to develop moments of history and carry classical modernism’s interest in primary colours over to the present. He does this by juxtaposing the images of famous post- and pre war modernist sites in Berlin with an image of the very same space they occupy now. The result is a transformed image on an object that hovers uncomfortably between categories, something between picture, sculpture, and theatre prop.
In a similar way, Nairy Baghramian also mobilizes the grammar of classical modernist forms, calling to mind the aspirations originally associated with them. In doing so, she places form and gestalt in the context of a critical discussion about the social and cultural implications of society’s ongoing project to create an extensive, allencompassing design out of every aspect of our lives. Devotee – a grouping of stool-like sculptures bearing a seat shell shaped like the concave imprint of a human derriere – is arranged in a typical mise-en-scène that seems to lend the objects personalities of their own. In fact, you could say they were downright chatterboxes, speaking of their relation to every diverse aspect of design from furniture to theatre and even fashion. At the same time, the materials Baghramian uses tell a story of their own – one that includes the entire history of their original use.
The work of artist Ulf Alminde addresses the social implications of interior design. His films are based on the performative acts that develop in the area of conflict between the frame set by the artist, along with the dynamics
a project curated by Susanne Prinz
Artists: Antonia Low, Nairy Baghramian, Paolo Chiasera, Riccardo Previdi, Shannon Bool, Ulf Alminde
Vera Cortês, Art Agency
Opening reception– 17th April, 10 p.m.
Open from the 18th April to the 23rd of May 2009
Tuesday through Friday from 11:00 a.m. to 7:00 p.m.
Saturday from 3:00 to 8:00 p.m.
Not long ago, hardly anyone was interested in those periods of art that were minted by holistic principles and impregnated by utopian ideas as almost all modernist movements up to the 1960s were. Then, particularly in design and architecture, forms and materials more often than not spoke a megalomaniac language of an all encompassing approach to anything from small details in human life to mega-cities. As we know the generally rather optimistic outlook soon became disreputable simply by being used or misused by various political –isms and the increasingly inhospitable and unsocial reality of our (sub-)urban lives. How much questions of design today have regained importance and are considered to have progressive potential is demonstrated by the ideas evolving around the reconstruction of New Orleans. Here design is obviously considered as a vade mecum for the complete political, economical, and ecological catastrophe that followed the destruction of the city by hurricane Catrina.
The long lasting historic deficit of legitimacy in design and architecture has done a lot for the concentration on the aesthetics of the single object and has in fact fetishized it. In the wake of this development all things designed and modernistic became objects of desire. Nevertheless they still hold promises of sociality or at least of utility. Here lies one reason behind the rekindled interest of a whole generation of young artists in the related fields of architecture and design. While searching for relevance that extends beyond their proper genre they dissect the extremely symbolic language of these objects of desire. For many the simple fact that design objects are fetishes that not only turn them into collectables but also carry a message of good taste and an elevated lifestyle is another point of interest. It mirrors the fate of an artwork in consumerist societies where artworks are increasingly rendered into products while products became icons.
Unlike the wide spread routine of quoting highly desirable design directly in one’s own production the artists in this show prefer to relate on an associative level to the canon of good taste.
Shannon Bool’s sculpture, which takes the stripper pole as a point of departure, employs materials typical of the Art Deco period (brass and nickel) not to address issues of sex explicitly, but as reference to period whose decadence and freedom was followed by a period of sexual repression and frustrated desire. As with most of her works, A Perpendicular Expression of a Horizontal Desire is the result of an experimental process – one in which narrative content and sculptural materials merge. The decorative or ornamental elements integrated into the images accompanying the sculpture serve to develop the narrative potential even further, drawing analogies between various levels of reality and disrupting the viewer’s perception of space. Applying an ancient floor mosaic pattern to the photograph portrait of a lascivious beauty, the work also alludes psychological, social and aesthetic concerns, demonstrating Bool’s characteristic use of flatness as a constructed space hovering between perspective and ornament – a quality traceable in many of her other projects as well.
Paolo Chiasera works in a very diverse array of media. His multifarious practice moves from painting to installation and through to performances constructed around historical figures with a personal relevance to the artist. Though his figures are often well-known hero personalities, more often than not, his characters have an undeniably radical, rebellious streak. In one such example, viewers are given a rapid-fire account of one such hero’s creative output: 3 Variationen on Enzo Mari amalgamates 30 years of design history into a single, compressed sculpture, merging three of the renowned Italian designer’s most famous creations into a single object. In doing so, the artist succeeds in addressing not only questions of form but also the problem of the art object as fetish and consumer good in a humorous, light way.
Antonia Low’s fantastical, frenzied light bulb installations are most convincingly described within the vocabulary of classical enlightenment, as they bring its notions of the sublime into a contemporary framework. As Edmund Burke writes in his famed essay A Philosophical Inquiry into the Origin of our Idea of the Sublime and the Beautiful (1757), sublime objects should be "... vast in their dimension..." and "rugged and negligent”. While small, highly polished objects are considered merely beautiful, the sublime always carries with it a whiff of danger without ever becoming a real threat. Somehow, Low’s room-filling, ominously wired, meandering electrical trappings seem to fit the bill perfectly.
For Riccardo Previdi, the exhibited series of ‘fans’ is in many ways par for the course. Just as many of this young Italian artist’s works take up the ideas of classical modernism and apply them to forms of applied art, in these new sculptures, he manages to develop moments of history and carry classical modernism’s interest in primary colours over to the present. He does this by juxtaposing the images of famous post- and pre war modernist sites in Berlin with an image of the very same space they occupy now. The result is a transformed image on an object that hovers uncomfortably between categories, something between picture, sculpture, and theatre prop.
In a similar way, Nairy Baghramian also mobilizes the grammar of classical modernist forms, calling to mind the aspirations originally associated with them. In doing so, she places form and gestalt in the context of a critical discussion about the social and cultural implications of society’s ongoing project to create an extensive, allencompassing design out of every aspect of our lives. Devotee – a grouping of stool-like sculptures bearing a seat shell shaped like the concave imprint of a human derriere – is arranged in a typical mise-en-scène that seems to lend the objects personalities of their own. In fact, you could say they were downright chatterboxes, speaking of their relation to every diverse aspect of design from furniture to theatre and even fashion. At the same time, the materials Baghramian uses tell a story of their own – one that includes the entire history of their original use.
The work of artist Ulf Alminde addresses the social implications of interior design. His films are based on the performative acts that develop in the area of conflict between the frame set by the artist, along with the dynamics