London

Andrea Fisher

Gallery Marlene Eleini

Over the last two years, Andrea Fisher has developed a distinctive format for her wall installations, by combining Minimalist-type sculptures, always identifiable as reminiscent of, say, a “Serra” or a “Judd,” with a projected image. Past installations have focused on Minimalist practice as the consequent and final manifestation of Modernism proper, and have included images of isolated female victims of war. The subjects’ poses revealed, in their finality both as event and as image, the intimate and deeply troubling connections between social and sexual violence and the fascination with visual staging and ordering.

In her installation here, Signs I, 1989, the images present scenes of violent death disturbingly charged with eroticism. Thus specularizing the unspoken and disavowed other, these projections attempt to reintroduce the domain of sexual and social politics to Modernist discourse.

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