I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
The ability to establish new frameworks of interpretation through a refined manipulation of form which serves to liberate the object of its definitude and traditional raison d’être places Michael Sailstorfer at the very forefront of a new generation of concept and installation artists in Germany today.
In addition to the conventional materials he is acquainted with as a renowned sculptor, Sailstorfer employs both sound and scent as well as the medium of time, synthesising dimension with deformation to produce arresting works which never fail to stimulate the whims of the imagination. Ambiguous and light hearted, his work at times conveys mischievous wit, at others expressive impact, producing without exception a state of semantic suspense–a sense of transformation that transcends category, an atmosphere of perpetual astonishment.
His creative process itself is no less experimental. Beginning with a powerful concept, Sailstorfer transforms his idea by hand, testing the limits of the imaginable while working both with as well as against the force of gravity. At times the artist’s brush is the flex grinder, at others the welding torch or his own hands. Set against the sheer dimension of his projects, Sailstorfer’s physical approach lends his work a human touch unintimidated by even the most absurd idea.
The artist has now produced a series of works exclusively for Perrotin New York: Bridging the traditional chasm that divides the internal from the tangible external, he employs a teardrop analogy to strip naked the most extreme states of the human mind.
Neither innocuous nor innocent, the art objects depicted in his video work TEARS reduce a home in the town of Spessart to rubble and stone. Here teardrop-shaped iron wrecking balls weighing two tons each hammer down onto the roof of a German farmhouse at a disturbingly slow pace.
At the gallery entrance, the installation COWBOY’S TEAR 2 seems to interrupt a flowing train of tears and almost threatens to ‘lasso’ us into the exhibition.
In SALT, three teardrop-shaped blocks of salt dissolve into the returning tide on a distant Norwegian shore. Their surrender to the elements is transmitted live via projection into the Perrotin gallery space, offering a playful testimony to the transitory nature of existence.
In the HEAVY TEAR PAINTINGS series, Sailstorfer uses lipstick as a medium to transfer the enigmatic form onto a lead surface. The ultimate symbol of emotional expression, the teardrop merges chemically with the metal surface that serves as the artist’s canvas.
The installation piece TEAR PRESS is actually a hydraulic machine. Hydraulics, originally the study of liquid flow behaviour, are employed here to press teardrop-shaped coal briquettes destined for a 'TTV' furnace in the form of a television set with a bronze chimney. The final work is no less complex than the idea behind it, which parallels the lost and obsolete nature of emotional experience in a rationalised and systematic world with that of a bleak industrial process of solidification.
As leitmotif of the exhibition, the teardrop and its tragic monopoly on human existence provide a corporeal symbol of passage, one which illuminates the themes of transience and the existential possibility of transformation–motifs that once again underscore the bold diversity and creativity of Michael Sailstorfer´s work.
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