Anna K.E. / Intangible Economies Of Desires
Apr 01 – May 14, 2016
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- S2, Sommer Contemporary Art, Tel Aviv.
- Coated metal, TV-screen and painted sneakers, 103×123.5×50 cm.
- Coated metal, TV-screen and a silk screened jeans jacket, 120x140x40 cm.
- Coated metal, TV-screen and a silk screened jeans jacket, 120x140x40 cm.
- Coated metal, TV-screen and a silk screened jeans jacket, 120x140x40 cm.
- Photograph, drawing, aluminum, glass, plastic and a wood frame, 150x130x10 cm.
- Photograph, drawing, aluminum, glass, plastic and a wood frame, 140x145x10 cm.
- Photograph, drawing, aluminum, glass, plastic and a wood frame, 140x150x10 cm.
In her first show at Sommer Contemporary Art, Anna K.E. created a site-specific installation for the Project Room S2. It creates a hyper environment, where low and high-tech interact and the tactile and virtual merge.
The installation centers around two black metal constructions, carrying monitors with two short videos. K.E., who was trained as a classical dancer, is known for her short videos in which she is performing absurd, abject or Sisyphean actions in her studio, while demystifying the auratic glow of artistic creation. This time, she has taken it out to the street, and is seen from her back, marching or dancing. Another video juxtaposes formal and conceptual coincidental crossroads. Together with a jeans jacket and a pair of sneakers, these random personal attributes grant the space an air of a private living environment.
A linoleum floor piece dictates the installation’s rhythm – it is divided into a grid-like structure, mimicking tiles, which, together with many other references to modernist architecture, are a repeated motif in K.E.’s practice. The grid layout’s repetition is broken with abstract organic shapes, carved into the linoleum to expose underlying colors, along side numbers, which suggest a hidden choreography for the spectator in space. With symbolic gestures, sensitive aesthetics, a sense of humor and a pretentious title, “Intangible Economies of Desires” creates a small enclave filled with dissipated representations of our spatial-digital habitats.
Anna K.E. (born 1986, Tbilisi, Georgia) lives and works in New York and Germany. She studied at Staatliche Akademie der Bildenden Künste Stuttgart and Kunstakademie Düsseldorf. She held solo shows at Galerie Barbara Thumm, Berlin, (2015 and 2013), Simone Subal Gallery, NYC, (2015 and 2013), Figge von Rosen Gallery, Cologne (2013 and 2011), Mannheimer Kunstverein, Mannheim and Kunstverein Leverkusen, Leverkusen (2011) among rest; and participated in group shows at High Line Art, NYC (2015), The Kitchen, NYC (2015), Renaissance Society, Chicago (2014), Queens Museum of Art, NYC, (2013), Leopold-Hoesch-Museum, Düren (2013), The III Moscow International Biennale for Young Art, Moscow (2012), Schmela Haus, Museum K21, Düsseldorf (2010), Young Biennale Köln 2010, Cologne (2010) and Cobra Museum, Amsterdam (2009).