A rainbow array of stilettos was lined up at Sylvie Fleury’s exhibition It Might As Well Rain Until September. Exhibition-goers were invited to slip the heels on and film themselves strolling gingerly across a reflective floor sculpture, recreating Fleury’s 1997 film, Walking on Carl Andre.
High minimalism mingles with symbols of feminine consumer identity in Sylvie Fleury’s It Might As Well Rain Until September. A dizzying wonderland of vertical stripes contain vulva-shaped openings, commercial slogans glow in neon, the polished surfaces of candy-colored paintings have been smashed into abstraction by a car, and a rainbow array of stilettos are lined up for exhibition-goers to stroll across a reflective floor sculpture parodying Carl Andre.
The installation saunters the fine line between art production and display, fetishized goods, and the production value of marketing luxury.
“I began to think about the idea of leftovers. It became important for me on a number of levels, because it has to do with what you do after the promise, when you realize the promise is not possible. This is fundamental to any utopian notion–the promise and its demise. You can’t have utopia without its loss.”
“I decided to work with the idea of a transparency of process, a way of reading a work in a visceral, physical manner. “408 Tons of Imperfect Geometry” is pretty much a description of what it attempts to be – a working-out of a load bearing on the floor with the structure upon it, which is cast like a net. The imperfect geometry – it’s something that tries to achieve almost meditative perfection and yet, it fails; it feels strangely apt to our times.”
“The furniture sculptures refer to what happens to painting. Paintings are hung over a sofa, or between curtains, so it’s just natural, in a way.”
John Armleder’s installations extend the act of painting to preempt its usual, not-so-happy, over-the-couch fate. This flawlessly installed show catalogs the artist’s furniture sculptures, that pair paintings with antique furnishings, domestic décor or goods like as truck spoilers, surfboards or lighting fixtures, to provoke a new reading of the canvas of the domestic space.
Jürgen Drescher casts unreliable, worn out objects in metal, preserving their wear and tear in a delicate homage. Ostensibly insignificant objects trouvé are cast in aluminum, synthetic resins, or silver, confronting the observer with the object`s aesthetic production, and abstracting it to reveal the essential sculptural qualities of an objet d’art.