[ad_1]
The Swiss artist Sylvie Fleury, whose 30-year profession has been marked by prescient takes on shopper tradition, is displaying a collection of items at Sprüth Magers gallery in London spanning the years (till 4 November). “It began with this concept of doing just a little celebration. Philomene [Magers, gallery co-founder] and I began along with my first solo present 30 years in the past,” Fleury says.
Items on present embody ephemera from the celebrated She-Devils on Wheels, a women-only motoring membership, based by Fleury within the Nineteen Nineties after being refused membership to a car-racing membership. Additionally on view is First Spaceship on Venus (1995-today), a sequence that focuses on the concept of machismo round science fiction and outer area journey. “Creating rockets in a variety of media, Fleury satirises their phallic symbolism by using colors and supplies related to ‘femininity,”’ a gallery assertion says.
Fleury’s critique of self-improvement continues to be pertinent with textual content works corresponding to Lush Lips (1997) which carries the message: “The newest on injections.” On the highest flooring of the gallery are additional odes to self-love, consumerism and vogue such because the chromed Kelly Bag (crocodile), 2013.
What’s it like seeing items collectively for the primary time in a long time? “It’s a bit like whenever you meet outdated mates you hadn’t seen in a very long time. Blissful to see them however shocked some have aged greater than others. So I don’t really feel it’s like a retrospective however extra like one other encounter,” she says.
The sprawling survey at Sprüth Magers crowns a busy interval for Fleury who offered an unlimited present earlier this yr on the Pinacoteca Agnelli area in Turin. “A ‘punk feminist in disguise’, as she calls herself, Fleury confronts the mechanisms of the manufacturing of want and building of worth, and the way they work together with gender politics.” the exhibition curators stated.
Because the Nineteen Eighties, Fleury has produced Pop art-inspired works that touch upon gender politics and society’s fascination with luxurious items. The bottom flooring of Sprüth Magers is suffering from retro purchasing baggage and a mirror piece displaying a girl (Fleury herself) in a chequered two-piece swimsuit selecting up a raft of designer purchasing objects (No Man’s Time, 2023).
“There was at all times the query of the clothes and the style which didn’t curiosity me very a lot essentially however which I used to say different issues than ‘I really like purchasing.’
I’ve at all times loved investigating the mechanisms of our society […] I believe what’s attention-grabbing [about the show] is displaying all of this in a brand new mild and seeing what occurs,” the artist says.
All through the survey, Fleury references in her personal means male conceptual artists corresponding to Daniel Buren, Carl Andre and Michelangelo Pistoletto (the aforementioned mirror work references Pistoletto’s Mirror Work, 1963-today, whereas wall work of vertical stripes riff on the signature motif of Buren).
“I’m simply taking part in,” she says. “There was all this lovely and stylish Minimalism and I assumed, let’s play with it. However it’s not intentional, it’s not about being nasty, possibly only a bit tenderly irreverent. This to me is much more in regards to the concept of developments or for example how some manufacturers will take over artists’ works as a result of they really feel it may inject content material. From the start I stated I used to be taken with that crossover, for higher or worse.”
For now she is savouring the second in London at peak artwork time (the present opened throughout Frieze artwork week) whereas trying ahead to a significant present subsequent yr in Rotterdam. “It’s attention-grabbing to me the gallery needs to point out my older items once I really feel most galleries would need newer works. It’s problem,” she provides.
[ad_2]
Source link