los-angeles

Martin Kersels

Dan Bernier

In his recent show, Martin Kersels wrestled with questions about how we navigate the world, addressing complex issues of awkwardness, safety and danger, and fear and discomfort. With a vocabulary taken from Conceptual art, performance art, slapstick, and dance, he exaggerates the embarrassing racket we make bumping and stumbling through life housed in our own too, too solid flesh. The work owes its unique perspective to Kersels’ knowledge that we are both privileged and doomed to lumber through the world as blobs of thinking, breathing meat.

The show’s centerpiece, Loud House (all works 1998), is a thirteen-foot-high corrugated-metal shed topped by a video monitor at the roof’s peak that shows footage of the artist cavorting in clogs and other footwear—twirling, toe tapping, and tumbling. The sound track rumbles and crashes through the gallery from special loudspeakers called bass shakers

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