Work made with sculpture, ceramics and found objects that addresses consumerist culture and climate anxiety

Result #1

, it is symptomatic of the times, with its combination of blithe and grimly voyeuristic exploitation. Its not an easy act to follow, and one that the artist is still at pains to maintain.

Result #2

Work made with sculpture, ceramics and found objects that addresses consumerist culture and climate anxiety. The exhibitions press release suggested that the work was intended as an extension of the work of artists such as Konrad Lueg, Florian Schad, and Emma Donoghue. Yet, as in the rest of the exhibition, the results are more like incantations and idealism, if not contradictions. The works that emerged out of this common impulse are far more dubious than the others. There is the usual (and somewhat monotonous) problem of complicating aestheticism with the aims of politics or activism. But the works have a distinctly left-right orientation, as if it were enough to just say that they are left-right, and right-left. They seem to represent the same left-right as the right-left of the right-left. This is the same left-right as the left-left of the right-left. In The Building, 1998, a series of wooden panels are lashed together to form a building—and then pulled apart to reveal an empty interior, its wooden beams not quite finished.The other two works are less convincing: In the former work, a large container is filled with a thick thick piece of wood and aluminum. It is the kind of work one might find on a warehouse floor. It is a sort of warehouse, and one can clearly see that the metal is to be used. It is the kind of work one might find on the periphery of a city or town. It is a piece of urban urban sculpture, a piece that one might take as a critique of the conditions of production in the urban space, a critique that is, if anything, more prevalent in contemporary art. The work does, however, draw on an abstract form, but one that is at odds with the concrete, literal, material, and often political context in which it is placed. This is the most obvious problem of the work; it is the one that often prevents it from being taken seriously.

Result #3

Work made with sculpture, ceramics and found objects that addresses consumerist culture and climate anxiety.The shows opening, a wooden sculpture titled Demonstration, 1990, consisted of a small wooden casket filled with an assortment of found objects, including a toy water fountain, a fishing rod, a piece of string, and a glass of wine. The contents of the casket are arranged in a grid-like fashion, while the string has been tied into place on the casket by a saw blade. This stringed instrument is a small, vulgar item, with no intention of appreciating its significance. The wooden casket is a typical piece of refuse, but here its importance is symbolic of what a consumer might buy. It is also a classic example of the anonymous, utilitarian object, an empty, and almost lifeless thing—an object that can be used as a receptacle for things that have no particular value. A small table, headless, has been placed next to a table with the same empty look. The table has a full plastic cup filled with white wine. The empty cup has been replaced by a full one in the cup. There is nothing special or tragic about the condition of the wine, but it is simply empty. The wine is empty as well of signification.The result of this symbolic-critical play between value and appearance is a critique of the consumer society that it is meant to critique. The consumer society of the world, a society of objects and not of signification, is the current subject of the artists work. Her critique is a reflection of our consumer society in which everything is a sign of an increasingly mediated and commercialized culture, of which the consumer society is only one aspect. The artists art addresses the society in general and its objectification in particular, a society in which values and values-assignments are as much signs as they are. Her work demonstrates that value, in any form, is subjective, and that it is created by the individual.

Result #4

. The exhibitions title, The Uncivilized, as well as the pictures and books of various types, seem to refer to a world where being a citizen is no longer the right thing to do. In this vein, Aleksandra Mirska stands out in the show, as she brings into play some of the most recent forms of social activism in art. Her recent paintings on found paper, made with crayons and acrylics on found media, appear as fantastical drawings that combine the decorative and the humorous in a kind of art-about-art approach. In the shows second part, Reality, the viewer finds a homoerotic image of a person in front of a screen showing a porno. It is not clear whether this image is being projected onto a screen or being projected onto a person. Instead of the time of the image, which is the current moment of human society, we find an image of a sexual moment. By the same token, however, the nudity in the work isnt a naked body. It is a nude vagina.The exhibition suggests that the concern of the artists in the exhibition is to find a way to address the problem of the problem of sexuality in the age of globalization, as it is so often perceived in Western society. For the moment, however, the artists are aware of the world they live in, and they use it as a springboard for their work. They work with found images and materials, which they usually find at flea markets, and, in so doing, use their knowledge of how to work with images to make the exhibition as a whole something more than just a one-liner.

Result #5

. In a sense, the process of finding materials for these constructions constituted an art-making journey, in which the artist reached a moment of pure release from the constraints of class and place. In fact, it is this process of pure release that constitutes the essence of the art of the present.