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When describing post-1960s painting, critic Douglas Crimp points to artist Frank Stella’s practice. In his essay “The End of Painting” (October Journal) Crimp describes Stella’s work as a “hybrid object, an object which may well represent a painting but certainly can not legitimately be a painting.” L’Inconnue aims to expand on this term as title for it’s inaugural exhibition Hybrid Objects from October 21 – December 17, 2016.


Hybrid Objects examines the challenges of 1-D representation in painting, in the face of recent technology. The selected artists react against the current fast-paced nature of technology or alternatively, embrace the power of technology and its ability to further the presentation of their work. Technology is a prosthetic device, an extension of the artist’s hand, changing the process and conception of a work. Furthermore, materials are at the core of an artworks’ conception. The method in which the materials are manipulated and produced give birth to the subject. The Readymade and the Tube of Paint by Thierry de Duve defines painting as readymade. Its material source is a pre-fabricated consumer object i.e. the paint tube.

Artists Chris Dorland, Hanna Hur, Alex Morrison, Adrianne Rubenstein, Corin Sworn and Zin Taylor push the limitations of paint tubes by employing a diverse toolkit of materials to create their work: cotton, canvas, linen, wood, aluminum, silk, cooper, printer ink, oil paint, coloured pencil, chinese marker, Indian ink and lac extract.

Hybrid Objects
L'Inconnue, Montreal
Through December 17

The installation, exhibited at the Venice Biennale in 2007 but since then hidden from public view, constitutes an exemplar of Vascellari’s oeuvre and despite belonging to his early period, contains many elements typical of his research. MAXXI, Roma
Working across mediums, with a concentration in sculpture and video as well as prose and poetry, New York-based artist Diamond Stingily draws on personal and collective memory in order to examine the condition of American identity today. Through her iconic use of found materials such as wood doors, chains, and synthetic hair associated with her childhood memories and experiences, Stingily imbues the readymade with political and personal urgency. ICA Miami
SALTS, Birsfelden
OGR, Turin
Peres Projects, Berlin
Fondazione Sant'Elia, Palermo
From 27 to 29 July 2018
Galerie Rolando Anselmi, Berlin