Amsterdam

Philippe Perrin

TORCH

Anonymity as a strategy for survival in an egocentric culture is certainly not a trademark of Philippe Perrin. His work Brand New Cadillac, 1992, is a composite of many objects: little boxes displaying familiar attributes and fetishes of our consumer society are grouped around a black and white photograph of an attractive woman in the act of undressing. As in an earlier work, entitled Killer, 1990, which was shown in the “Aperto” section of the Venice Biennale, the scene here is suggested as in a movie. Perrin has even broken the glass pane of one of the boxes, which, it is implied, surely also contained an object the viewer can imagine and replace. Shards of glass still remain on the floor, and the broken pane is tinted with fake blood. Perrin’s works seductively and provocatively pose questions about what is genuine and what is false in the way they use illusion.

The game that is played

Sign-in to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for artforum.com? Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the Summer 1992 issue for $17 or the ONLINE EDITION for $5.99.

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