The title of the exhibition, The Broken Shell of the Hermit Crab, suggests a metaphorical space that needs simultaneously invasion and defense. The hermit crab uses empty snail shells or other hollow objects as a shelter for partial containment and protection of the body. And since their bodies are always changing and outgrowing their current habitat, the desire to conquer a new housing is a constant urge. The exhibition is bringing together the works of four international artists whose practices are driven by a conceptual approach to object making, bearing a strong interest in popular culture – notably a socially motivated and historicist research when constructing narratives.
Thinking the behavior of the hermit crab as a conceptual starting point all four artists deconstruct cultural clichés and extrapolate a new understanding of the space they investigate.
A new language is being applied for the space that is inhabited, where different bodies can navigate a multitude of different environments, physically as emotionally and spiritually. These conceptual spaces are defined by a set of economies based on a unique understanding of language, well-being and prosperity.
The Broken Shell Of The Hermit Crab, installation view
Augustas Serapinas, October 21st, 2018, Courtesy of the artist and Emalin, London.
Jan Kiefer, Untitled, 2018, Courtesy of the artist and Union Pacific.
Tiger, 2018 (as part of the sculptural group “Bisel (Cabalga, Cabalga, Cabalga)”, 2018
Courtesy of the artist and Galeria Joan Prats
The exhibition features over thirty sculptures, paintings, videos, and large-scale installations from throughout Ward’s career, highlighting his status as one of the most important and influential sculptors working today. New Museum, New York
In her mesmerising installation Faint with Light and video parable The Needle and the Larynx, normative bodies and genders undergo radical transformations. The artist’s own body, mutated and remodeled, becomes the site in which her hypnotic fantasies are played out. At Copenhagen Contemporary
Like the dead metaphors that litter ordinary language (the body of an essay, the face of the clock), painting has metabolised many corpses over time. Plants, bread, nudes and apples in these paintings connote a generalised sense of art history and the language of painting as much as they refer to the objects themselves. At Giò Marconi, Milan