www.barbourfranceboutique.fr German Artist Alice K

Konitz has often employed models and maquettes as a means of interrogating space, and even her fully realized works often feel provisional. Based on a maquette on view in the gallery's back room, the show's capacious if [link widoczny dla zalogowanych] spare centerpiece, Mall Sculpture (all works 2006), comprises four large, thin, hexagonal melamine frames covered in brown [link widoczny dla zalogowanych] felt that are in turn supported by [link widoczny dla zalogowanych] five triangular columns covered with sheets of reflective gold-colored construction [link widoczny dla zalogowanych] paper. Despite the regularity of the modular [link widoczny dla zalogowanych] units, the work's overall plan is asymmetrical and looks surprisingly arbitrary, appearing at once like an [link widoczny dla zalogowanych] enormous, unclasped gold bracelet and an errant fragment from a low-budget science-fiction set. Konitz based her form on architectural structures she observed in West Los Angeles's Century [link widoczny dla zalogowanych] City--shiny urban-scaled emblems of late capitalism, anxiously situated between Utopian modernism and the empty promise of postmodernism. Theatrically exposing its thrifty origins and [link widoczny dla zalogowanych] heavily glued joints, Mall Sculpture communicates its inability to signify luxury and power, instead performing as both disruptive barrier and open-ended monument to the contingencies of social space.In her 2004 exhibition at Susanne Vielmetter, Alice Konitz presented an absurdist video featuring four characters in an idyllic natural setting, all wearing geometric masks that looked at once primitive and fashionable. Such images represented a way for Konitz to begin negotiating the complex symbolic terrain between exteriority and interiority. In her latest show she continued [link widoczny dla zalogowanych] to use formalism [link widoczny dla zalogowanych] as a vehicle for moving from idiosyncratic concerns--recurring modular shapes, familiar low-budget materials, a limited palette now further refined to brown and metallic colors--toward an investigation of the wider social realm. While Konitz stated no explicit political ambition, the exhibition's no-nonsense title, "Public Sculpture," invokes [link widoczny dla zalogowanych] a social dimension at a moment when "public" and "private" are semantic notions defined by [link widoczny dla zalogowanych] an elite.In the wooded setting of Alice Könitz's untitled video, "primitive" imagery (geometric masks and props) meets "primitive" facture in a series of three tableaux that recall the mannered staging of early cinema. Collaged from plays by Ionesco and other absurdist masters, the scenarios seem intent on going nowhere.
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