I mean, gee whiz, another detour back to the1960's and Merleau-Ponty?
A new exhibition and write-up from our good friend, Frederike Nymphius, Berlin-based gallerist and curator:
NOTES ON SCULPTURE A plea for deceleration
A sketch for Krobath l Vienna
by Friederike Nymphius, Berlin 2015 for “curated by_vienna”, 10.9. - 17.10. 2015
Martin Boyce, Martin Creed, Dominik Lang, Monika Sosnowska, Katja Strunz, Tatiana Trouvé
In his essay “Notes on Sculpture” (1966) Robert Morris pointedly refer- red to the significance of autonomy and form in the context of contemporary sculpture. The artist advocated sculpture that turns the form its- elf into its theme, eliminating any painterly elements such as colours.
In addition, Morris also closely examined the circumstances of perception, referring to a publication by the French philosopher Maurice Merleau-Ponty entitled “Phenomenology of Perception”, which became a key text for the minimalists of that time. According to Merleau-Ponty, reality is not absolute but rather depends on the various and sometimes even random factors of perception, which cause constant changes to or different manifestations of reality. The ideas developed by Robert Morris are still relevant and highly topical for today’s younger generation of artists. The focus, however, has shifted from the object to the subject, from perception of the form to perception of individuals in society. These young sculptors counter the volatility and flurry of modern life with the marked physical presence of their sculptures.
The works of Martin Boyce, Martin Creed, Dominik Lang, Monika Sosnowska, Katja Strunz and Tatiana Trouvé are deeply rooted in the pre- sent. The radical style and the bulky materiality of their works eliminates all traces of playfulness and creates situations that can only be described as physical and psychological confrontation or total refusal.
Their works thus deliberately evade quick consumption and the superfici- al utilisation mechanisms of the progressively commercialised art market. Their sophisticated response to our increasingly fast-paced industrial society is to decelerate and explore the “conditio humana”. The act of decelerating thus becomes key to finding the adequate pace for humans to en- gage with themselves and their permanently accelerating environment.
A new exhibition and write-up from our good friend, Frederike Nymphius, Berlin-based gallerist and curator:
NOTES ON SCULPTURE A plea for deceleration
A sketch for Krobath l Vienna
by Friederike Nymphius, Berlin 2015 for “curated by_vienna”, 10.9. - 17.10. 2015
Martin Boyce, Martin Creed, Dominik Lang, Monika Sosnowska, Katja Strunz, Tatiana Trouvé
In his essay “Notes on Sculpture” (1966) Robert Morris pointedly refer- red to the significance of autonomy and form in the context of contemporary sculpture. The artist advocated sculpture that turns the form its- elf into its theme, eliminating any painterly elements such as colours.
In addition, Morris also closely examined the circumstances of perception, referring to a publication by the French philosopher Maurice Merleau-Ponty entitled “Phenomenology of Perception”, which became a key text for the minimalists of that time. According to Merleau-Ponty, reality is not absolute but rather depends on the various and sometimes even random factors of perception, which cause constant changes to or different manifestations of reality. The ideas developed by Robert Morris are still relevant and highly topical for today’s younger generation of artists. The focus, however, has shifted from the object to the subject, from perception of the form to perception of individuals in society. These young sculptors counter the volatility and flurry of modern life with the marked physical presence of their sculptures.
The works of Martin Boyce, Martin Creed, Dominik Lang, Monika Sosnowska, Katja Strunz and Tatiana Trouvé are deeply rooted in the pre- sent. The radical style and the bulky materiality of their works eliminates all traces of playfulness and creates situations that can only be described as physical and psychological confrontation or total refusal.
Their works thus deliberately evade quick consumption and the superfici- al utilisation mechanisms of the progressively commercialised art market. Their sophisticated response to our increasingly fast-paced industrial society is to decelerate and explore the “conditio humana”. The act of decelerating thus becomes key to finding the adequate pace for humans to en- gage with themselves and their permanently accelerating environment.
curated by_vienna:
TOMORROW TODAY
11 September – 17 October 2015
11 September – 17 October 2015
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