Foxy Production is pleased to present Rose Gold, Sara Cwynar’s second solo exhibition at the gallery. Rose Gold comprises a new film and a new series of photographs. Cwynar’s film Rose Gold focuses on Apple’s Rose Gold iPhone, tracking how the phone acts as a talisman of desire for objects, people, power, and money. The film considers how individuals — the artist is one of its protagonists – negotiate complicated feelings of love and hate for a commercial object, and how features such as touch and 3D resonate viscerally with the user’s emotions and imagination. Cwynar’s new photographs comprise studio portraits of Tracy, a friend of the artist, with superimposed found objects and images; recomposed illustrations of suits of armor; a set of Avon presidential after-shave bottles from the 1970s minus their heads; and a studio photograph of a hot pink peony on a green background. Like her film, Cwynar’s photographs highlight the residual power of everyday, discarded objects and images.
In his sixth solo exhibition at the gallery Meuser presents a group of new wall-based works and freestanding sculptures under the exhibition title “Kann ich mich hier auch selbst einweisen?“ (Can I Admit Myself To This Place?), a title that seems a logical follow-up to his 2014 show ”Herr Ober, zwei Doppelte“ (Waiter, Two Double Shots).
For more than 40 years Meuser has been finding his material, discarded industrial objects made from steel or iron, primarily at the scrapyard. The search for a suitable industrial relic is an essential part of his artistic process; as Meuser puts it: ”Scrap, there is tons of course but it contains a lot of rubbish." Ignoring the original function of the often bulky found objects, Meuser reworks them in the studio, welds them together, or sometimes simply paints them. With minimal interventions the artist thus constructs three-dimensional works that oscillate between sculpture and painting. The arrangement of the objects in the manner of an installation—in particular his wall-based works—facilitates an experience that is rather pictorial. Obvious signs of wear, like marks and scratches, in the material evoke painterly gestures. This effect is enhanced by coating the found objects with ordinary industrial paints and oil. At the same time, the monochrome color infuses the metal fragments with an amorphous vitality and physical presence, evoking an illusion of lightness, which counterbalances the actual physical weight of the material.
The unpretentious and modest vocabulary of Meuser’s more geometric body of work has a constructivist formal clarity that is reminiscent to strategies of Minimal art, especially considering his specific use of materials. With his so-called “Knautsch” works (roughly translated from the German, it means “crumpled“), Meuser expanded this idiom and since 2011 he has developed works that are literally crumpled: i.e., squeezed, crushed, and bent. As a student of Beuys at the Kunstakademie Düsseldorf, Meuser developed his abstract constructivist vocabulary particularity in the context of the work of older colleagues such as Blinky Palermo and Imi Knoebel, who—like Martin Kippenberger—had significant influence on his work. With Kippenberger he shared an ironic and down-to-earth approach to artmaking and he sometimes visited his friend to create titles for the works (“Titel kloppen”), just as one would slam cards on the table in a game of skat.
Ultimately, with his specific handling and installation of the works, but especially with his idiosyncratic titles, Meuser ironically transfers his materials into an everyday world oscillating between banality and poetry. Meuser’s hilarious and disrespectful titles are inspired by the distinctively blunt and irreverent everyday rhetoric of the Ruhr valley, as well as popular songs (“Schlager”), proverbs, or jokes. These titles are found fragments just like the scrap metal, extracted from their original realm of meaning. They render the work as a self-referential whole composed of image and text and allow for new iconographic interpretations and various—sometimes anarchic—associations.
Bruno Serralongue’s new solo exhibition at Air de Paris borrows its title from Henri Michaux’s collection of poems. Through «Chemins cherchés, chemins perdus, transgressions» there will be question of struggle for land elsewhere, for migrants (Calais, 2006-2008, 2015-ongoing) or here for temporary inhabitant and residents of the Zone to Defend (ZAD) (Notre Dame des Landes, 2014-ongoing).
Matteo Negri’s one-person show on March 23rd. Negri is the Milanese artist who uses color as a fundamental element in the dialogue between space and form, and he turns surface and its reflective possibilities into an instrument of research. His works range from environmental installations made of special mirrors and theatrical lighting, to sculpture in which composite materials (epoxy resins, silicone) and steel are employed. This exhibit, curated by Pietro Gaglianò and Ivan Quaroni, is entitled 17 Colored Sculptures and it puts the emphasis on the work Negri has developed over time creating his own formal grammar and linguistic logic based on solid artisanal, technical and design experience.
The artist has created two installations composed of 17 sculptures for the Lorenzelli Arte spaces, as the title of the exhibition states, installations in which space and volume are the protagonists, dialoguing with each other by way of color that creates connections through iridescent glass, steel and mirrors. Through sculpture that open and expand objects and flip planes topsy-turvy and its consequent perceptual disorientation, Negri defines the relationships, near and far, symbiotic yet antagonistic, between the environment and its observer.
In the first room of the gallery there are 12 Kamigami – mutated Japanese word that defines the infiniteness and plurality of the spirit – are composed on a wall in an installation of round, iridescent, perforated surfaces, wholly covered in mirrored steel. A kind of ambiguous porthole that remain unique wall sculptures, reflecting infinite perspectives and flipping over space thus posing the question of its finiteness.
The other ambiance’s ability to disorient is determined by a large installation consisting of five elements: steel and glass of varying sizes dovetailed together that, polyhedral shapes the compose and discompose themselves, produce innumerable reflections thus rendering the pieces catalyzers of infinite points of view.
Through these installed elements, almost “open gems” as Negri calls them, the viewer is called into question, as with contemplative lens, to determine his/her relationship to the works and reconstruct a rapport that ties him/her to that space.
The exhibition is accompanied by a bilingual catalogue (Italian/English) published by Silvana Editoriale with texts by Pietro Gaglianò and Ivan Quaroni, with color reproductions of all the exhibited works and an anthological selection of previous works by the artist.