berlin

Anicka Yi, The Easy Way to Quit New York, 2013, Plexiglas, stainless-steel shower handle, vinyl tubing, glycerin soap, resin, petri dish, paper, wax, fish-oil capsule, 11 3/4 x 8 5/8 x 7 3/4".

Anicka Yi

Lars Friedrich

Anicka Yi, The Easy Way to Quit New York, 2013, Plexiglas, stainless-steel shower handle, vinyl tubing, glycerin soap, resin, petri dish, paper, wax, fish-oil capsule, 11 3/4 x 8 5/8 x 7 3/4".

On entering Anicka Yi’s recent exhibition, one saw a light-gray wall with rectangular recessed chambers containing sculptural assemblages, stylishly illuminated and mounted on flat white pedestals. The presentation evoked the displays at a high-end store—which makes a certain sense, since the show was partly conceived in collaboration with Mari Ouchi of New York–based boutique jeweler Faux/Real. Three large compartments contained arrangements of materials such as translucent resin, trinkets, Plexiglas, and steel; a smaller one was filled with dry dog food. For all her work’s superficial kinship with the collisions of store display and sculpture in work by artists such as Josephine Meckseper or Haim Steinbach, however, Yi encourages a different mode of spectatorship by embedding her art in a narrative that invites personal, affective involvement.

A text written (with artist

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