sao-paulo

View of “Jac Leirner,” 2012. Foreground: Hardware Seda (Hardware Silk), 2012. Background: Seis Níveis (Six Levels), 2012.

Jac Leirner

Fortes D’Aloia & Gabriel | Galeria

View of “Jac Leirner,” 2012. Foreground: Hardware Seda (Hardware Silk), 2012. Background: Seis Níveis (Six Levels), 2012.

For those accustomed to seeing Jac Leirner’s choice of materials as inspired by the universe of circulation and consumption—examples include banknotes, cigarette packs, plastic bags, airplane ashtrays, business cards, and so on—her latest exhibition at Galeria Fortes Vilaça probably came as a surprise. “Hardware Seda – Hardware Silk” consisted mostly of construction tools and utensils, in particular objects used in the making and installing of artworks. Yet this opposition between consumption and production is far from straightforward. Part of a series begun during a residency at the Yale School of Art, Leirner’s new works evoke not so much the inconspicuous dignity of the Heideggerian ready-to-hand hammer as the quintessentially North American subculture of do-it-yourself, a market niche that heralds the power tool as its ultimate fetish. Hardware Seda (all works 2012),

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