berlin

Ange Leccia

Galerie Anselm Dreher

The French object artist Ange Leccia was responsible for some excitement at last year’s Documenta in Kassel. In the Orangerie he showed a brand new Mercedes on a revolving pedestal. The deep blue color of the car was identical with that of the pedestal, which functioned as a kind of barrier to the object itself. The object of seduction—also the title of the work—could not be touched. Leccia calls his works “arrangements.” He avoids the use of the term “installation” because it seems to him to be too physical. Behind this concept of arrangement, there is a respect for the object itself. These objects imply the experience of Duchamp’s ready-mades, the Surrealists’ objets trouvés, and the work of Andy Warhol. But Leccia transforms his influences into the current commodity esthetic. The historic positions of artists to objects came from the latter’s relationship to reality, but Leccia’s works

Sign-in to keep reading

Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*

Order the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.