CURA.

MEGAN ROONEY
Fire On The Moun­tain

cu­rat­ed by An­na Lena Seis­er

Kunsthalle Dusseldorf

May 18 – August 11, 2019 

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Press Release

Megan Rooney (b. 1985) is an enig­mat­ic sto­ry­teller whose work ex­pands across paint­ing, per­for­mance, writ­ten and spo­ken word, sculp­ture, and in­stal­la­tion. In most­ly site-spe­cif­ic ar­range­ments, she com­bines the in­di­vid­u­al com­po­nents in­to large-scale in­stal­la­tions. Rooney’s ref­er­ences en­gage with ma­te­ri­al­i­ty and the hu­man sub­ject and are deeply in­vest­ed in the pre­sent mo­ment: the fes­ter­ing chaos of pol­i­tics with its myr­i­ad cru­el­ties and the laden vi­o­lence of our so­ci­ety, so res­i­dent in the home, in the fe­male, in the body.

Af­ter grow­ing up be­tween South Africa, Brazil, and Cana­da, Rooney has lived in Lon­don for the past ten years. She draws the sub­jects of her works di­rect­ly from life and her sur­round­ings. These are whim­si­cal and in some cas­es grotesque ev­ery­day ex­pe­ri­ences, hu­mor­ous ob­ser­va­tions, as well as gloomy sce­nar­ios, and pas­sion­ate col­or com­po­si­tions.

Her paint­ings and in­stal­la­tions are pop­u­lat­ed with pe­cu­liar char­ac­ters, body parts, and faces that raise ques­tions re­gard­ing the vul­ner­a­bil­i­ty and the in­fir­mi­ty of the body as such and the fe­male body in par­tic­u­lar. The artist’s use of ma­te­ri­als al­so re­flects her in­ter­est in our ac­tu­al and dai­ly sur­round­ings: House­hold items such as clean­ing rags en­counter ma­te­ri­als used to close off con­struc­tion sites; in­dus­tri­al bar­rels, dog toys, or golf clubs are com­bined with found ob­jects from the ur­ban space. Small hero­ics and ob­jects that we tend to over­look take cen­ter stage in Rooney’s work while she is care­ful­ly map­ping the ex­te­ri­or and in­te­ri­or land­scape of our so­ci­ety and strength­en­ing our sen­si­tiv­i­ty for ev­ery­day epics.

Fire on the Moun­tain is Megan Rooney’s first in­sti­tu­tion­al so­lo ex­hi­bi­tion in Ger­many. Specif­i­cal­ly for the space of the Kun­sthalle Düssel­dorf, the artist cre­at­ed a new body of work cen­tered around a large-scale, site-spe­cif­ic mu­ral sev­en­teen by eight me­ters in size.An ad­di­tion­al com­po­nent of the ex­hi­bi­tion is the three-part per­for­mance se­ries EV­ERY­WHERE BEEN THERE, which Rooney de­vel­oped in co­op­er­a­tion with the chore­og­ra­pher Temi­tope Ajose-Cut­ting and the mu­si­cian Pao­lo Thors­en-Nagel. The per­for­mance will pre­miere in three con­sec­u­tive chap­ters on 24, 25, and 26 May 2019 in the ex­hi­bi­tion space.

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CREDITS
courtesy the Artist and Drei, Cologne

 

 

 

OTHER TIPS
In the 19th and early 20th centuries, artists like Cézanne and Matisse took up this motif to express evolving notions about the body, changing ideas about pleasure, one’s relationship to nature, and how the longing for the new (in art) potentially renews a broader and more inclusive understanding of what it means to live with or against societal changes. Greene Naftali, New York
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(MERIEM) Ok Mom. So you’re going to play yourself, but as if you existed inside the world of the CAPS. You don’t really have to be in character. I wrote this monologue for your interview scene that we’re going to shoot at the pharmacy. It’s just there to give you ideas but you don’t have to stick to any script as long as you make us believe you’re on the CAPS island in the future (...) At C L E A R I N G, New York
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