Lars Dittrich and André Schlechtriem are pleased to present As If We Never Said Goodbye, a group show including Alfredo Aceto, Nicola Martini, and Linnéa Sjöberg, opening July 14 and running though August 25, 2017. Succeeding the previous group show Monet Is My Church reflecting on the current state of abstraction in contemporary painting, As If We Never Said Goodbye presents positions in contemporary sculpture. The three selected artists, sharing an interest in object translation via simulated industry-influenced processes, hold independent perspectives on object-oriented ontology, from the tangible archeological and geological to the more intimate chronological and psychological. Throughout the artworks presented in As If We Never Said Goodbye, and as the song’s lyric states, there exists a certain “magic in the making” that implies mystery, a ritualistic unknown or sentimental skepticism.
Alfredo Aceto (b. Turin, Italy, 1991 / lives and works in Geneva, Switzerland) presents at the center of the gallery a perpendicularly interlocking office desk, veiled in a black deadener tar and Wyandotte Silver Pheasant feathers, titled Bulo. The varied associations – academic, bureaucratic, banal – are mutated through the object’s now pictorial-sculptural presentation. The relationship between reality and fiction is confused through the slight application of material and back-to-front repositioning of the original form. The functional object is personified and, when considering the past social traditions of tarring and feathering, exists as an object transgressor having suffered an informal public execution. Aceto often creates environments and objects where time, space, memory, and personal attachment are folded into each other. Concepts of chronological manipulation can be seen quite directly as well in his series of clocks, strategically shot, glass intact, with evident bullet holes on the frame.
Nicola Martini (b. Florence, Italy, 1984 / lives and works in Milan, Italy) presents a series of sand sculptures placed like ceremonial remains on the floor and leaning on the low walls of the room. The base material of these objects is composed of thermal sand, normally used in the fabrication of steel and cast iron, a highly industrial process. Every grain is covered with a thermoplastic phenolic resin enhancing its ability to transfer heat. Martini highlights the untitled artworks’ composite identity with fire, by burning with a gas torch the thermal sand piles, forcing the hardening process. The new form is inverted, revealing the internal side of the pile, and stabilized with epoxy resin, exaggerating the artificiality of the material. By changing the definition of the object and rendering it inaccessible, Martini elevates it from the functional, opening it to the conceptual. The series has been produced with support from Nuove//Safond, Italy.
Linnéa Sjöberg (b. Strömsund, Sweden, 1983 / lives and works in Berlin, Germany) presents a number of wall-objects strategically distributed throughout the space. The series, titled “Inälvornas Dans (The Inward Dance)” incorporates dried skin parchment made from cowhide. The material – a waste product in the production of leather – bears reference to industrial process and fabrication, while resembling qualities of the human body, internal and external membranes. Sjöberg embalms objects and material from her everyday life: clothing, tools, fur and wood are wrapped wet in the transparent skin then forced together tightly, re-configuring themselves as necessary, to fit within the bound unit, as it dries. Ranging in scale, assuming almost human proportion, the hybrid structures appear oddly totemic. As with the artist’s weavings and tapestries, the remnants of action and practice over a time are consolidated creating a condensed cosmology of performance.
A full publication in English and German with an essay will be released in conjunction with this exhibition. Please contact Owen Clements, owen(at)dittrich-schlechtriem.com, for information, images and with any further inquiries.