mexico-city

View of “Simon Fujiwara,” 2015. From left: Fabulous Beasts (Ocelot), 2015; Ich (2x7L Tangem 7 Trennsystem), 2015; Masks (Merkel E. 10, 1), 2015.

Simon Fujiwara

Proyectos Monclova

View of “Simon Fujiwara,” 2015. From left: Fabulous Beasts (Ocelot), 2015; Ich (2x7L Tangem 7 Trennsystem), 2015; Masks (Merkel E. 10, 1), 2015.

In his recent exhibition “Peoples of the Evening Land,” Simon Fujiwara stepped away from the overtly autobiographical subject matter for which he is best known. While the new bodies of work presented here were related to the context of his adopted home country of Germany, they tend to speak more to general conditions of the present than to personal memories of the past.

Five sculptures took the forms of trash cans with pull-out rubbish separators, which are a common feature of German kitchens. Usually concealed within a kitchen cupboard, they were here placed atop white plinths. Their elevated position seemed at odds with their humble function, but so did their apparent material preciousness: While they at first appear to be cast bronze replicas, they are in fact commercially available models that have merely been spray-coated with liquified bronze and patinated. According to the

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