From July 14 to September 6, 2017, Arsenal Contemporary New York presents Sticky Fingers, an exhibition curated by the French Martha Kirszenbaum, that brings together eight international artists whose practices span sculpture, painting, film, and installation, and whose works evoke the fragile tangibility of the human body, intertwining materiality with theatrical playfulness. Challenging the viewer’s relationship to their own physicality, these artists ultimately disclose the vast disconnectedness and loneliness of modern existence. This collective exhibition showcases three French artists, Caroline Mesquita, Meriem Bennani and Louise Sartor, along with five others international artists: Elizabeth Jaeger; Wanda Koop; Piotr Łakomy; An Te Liu and Elizabeth McIntosh.

Caroline Mesquita’s sculptural and metallurgic experiments, made from rolled sheet metal, result in life-size figures interacting in a mise-en-scène. For the exhibition, Mesquita has produced a series of four oxidized brass characters who square off with one another other and the viewer, their presence ultimately blurring the line between fiction and reality, humans and mannequins. In her video The Ballad, the artist appears alongside her sculptures, pushing and reinventing ways of living together through a deliciously perverse carnival.

Meriem Bennani’s shape-shifting practice of films captured on her iPhone and presented in immersive environments, interlaces references to globalized popular culture with the vernacular and traditional representation of her native Morocco. Composed on the edge of the misappropriation of clichés of Middle-Eastern culture, her site-specific installation Ghariba stages four video portraits depicting women from her family. In Arabic Ghariba means ‘stranger’ in its feminine form, and Bennani seems to reflect on identity and gender through the vantage of the foreigner, outsider, or alien in a country and society not their own, all the while furthering the notion of strangeness within the Self.

Tropes of girlishness, a certain feminine mystique, and an impression of solitude also infuse the work of Louise Sartor, whose portraits of young women, loosely inspired by Instagram snapshots, conceal the faces of their subjects, and whose identification is then relegated to their clothes or gestures. Bolo —a French nickname for spaghetti bolognaise— is a gouache painting on egg-box depicting a blonde silhouette ingurgitating a mouthful of pasta with tomato sauce, a sensual gesture not deprived of wry humor and irony.


DATES: July 14 - September 6, 2017
LOCATION: Arsenal Contemporary
Click here for more informations
Arsenal Contemporary 214 Bowery, New York, 10012

Sticky Fingers at Arsenal Contemporary New York

When
July 14 - September 6, 2017
Where
Arsenal Contemporary
214 Bowery,
New York, 10012

From July 14 to September 6, 2017, Arsenal Contemporary New York presents Sticky Fingers, an exhibition curated by the French Martha Kirszenbaum, that brings together eight international artists whose practices span sculpture, painting, film, and installation, and whose works evoke the fragile tangibility of the human body, intertwining materiality with theatrical playfulness. Challenging the viewer’s relationship to their own physicality, these artists ultimately disclose the vast disconnectedness and loneliness of modern existence. This collective exhibition showcases three French artists, Caroline Mesquita, Meriem Bennani and Louise Sartor, along with five others international artists: Elizabeth Jaeger; Wanda Koop; Piotr Łakomy; An Te Liu and Elizabeth McIntosh.

Caroline Mesquita’s sculptural and metallurgic experiments, made from rolled sheet metal, result in life-size figures interacting in a mise-en-scène. For the exhibition, Mesquita has produced a series of four oxidized brass characters who square off with one another other and the viewer, their presence ultimately blurring the line between fiction and reality, humans and mannequins. In her video The Ballad, the artist appears alongside her sculptures, pushing and reinventing ways of living together through a deliciously perverse carnival.

Meriem Bennani’s shape-shifting practice of films captured on her iPhone and presented in immersive environments, interlaces references to globalized popular culture with the vernacular and traditional representation of her native Morocco. Composed on the edge of the misappropriation of clichés of Middle-Eastern culture, her site-specific installation Ghariba stages four video portraits depicting women from her family. In Arabic Ghariba means ‘stranger’ in its feminine form, and Bennani seems to reflect on identity and gender through the vantage of the foreigner, outsider, or alien in a country and society not their own, all the while furthering the notion of strangeness within the Self.

Tropes of girlishness, a certain feminine mystique, and an impression of solitude also infuse the work of Louise Sartor, whose portraits of young women, loosely inspired by Instagram snapshots, conceal the faces of their subjects, and whose identification is then relegated to their clothes or gestures. Bolo —a French nickname for spaghetti bolognaise— is a gouache painting on egg-box depicting a blonde silhouette ingurgitating a mouthful of pasta with tomato sauce, a sensual gesture not deprived of wry humor and irony.


DATES: July 14 - September 6, 2017
LOCATION: Arsenal Contemporary
Click here for more informations
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