Artist: Michael Sailstorfer
Venue: Zero, Milan
Exhibition Title: Solarkatze
Date: March 15 – April 14, 2012
Full gallery of images, press release and link available after the jump.
Images courtesy of the artist and Zero, Milan. Photos by Filippo Armellin.
ZERO… is pleased to present Solarkatze, a solo show by the artist Michael Sailstorfer.
By investigating the world with curiosity and an inquisitive gaze, the artist transforms ordinary objects taken from everyday life into sculptural works, whose formal qualities nevertheless leave room for fiction. Irony and melancholy, playfulness and aggressiveness mingle in the different works, often resulting in real characters drawn from the personal experience of the artist.
The relationship between sculpture, space and the public is one of the recurring themes in Sailstorferʼs research. The position of the objects and their ability to trascend their own physical size by expanding in the surrounding space create what the artist defines as ʻexpanded sculptureʼ. In a constant balance between attraction and repulsion, the viewer is encouraged to relate personally with the situations he creates.
Moving into the first room the viewer finds the installation ʻCumulusʼ, whose contemplation is disturbed by a monotonous humming noise coming from a speaker positioned on the floor. Only by entering the second room the viewer finds out that the source of this drone is a microphone recording the movement of a fan belonging to the existing space. In this site-specific installation, the sound thus materializes itself, transformed into a workable, plastic material.
The projection ʻLohmaʼ depicts a corrugated-iron building, expanding and contracting as to evoke a slow and steady breath. This movement is reinforced by a strong noise, which seems to animate the house. The short loop records in fact the seconds right before the destruction of the building due to the explosives placed inside by the artist. The aggressivenes of such gesture, however, remains only latent, as this imminent destruction is merely hinted but never reaches its actual fulfillment.
If the three works investigate the possibilities given by the instability of form, the feeling that one gets in front of ʻSolarkatzeʼ, the sculpture that gives the exhibition its title, is different. Here the artist encourages the viewer to focus his attention on the cat, which not without irony contemplates the light coming from the ceiling. A way to set the stillness of this odd character against the noise and the sense of movement caused by the other works.