Simon Starling presents deceptively common objects: airplanes, lamps, chairs, plants, and cars. Altered or taken out of context, they lose their muteness, and elaborate yarns spin from them: stories linking the heroic or eccentric endeavors of individuals to larger, more complex and abstract economic and social processes of transformation. Often his works concern geographical displacements and historical repetitions. And they always look good. I mention this immediately in order to avoid giving any sense that the projects I am about to describe are merely dreary institutional critique or appropriation art arriving more than two decades late.
Starling, born in Epsom, England, and now based in Glasgow and Berlin, is a traveler and an alert observer of forms, both natural and man-made. He brings material as well as ideas with him on his long journeys, and the most varied of these connect in
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