Contemporary Art in the Americas Arte Contemporáneo en las Américas

Manfred Pernice

Manfred Pernice

Lulu Ciudad de México, México 02/06/2016 – 04/03/2016

0Z2A5245

18

43

A sculptor by trade, Pernice’s work exists at the juncture of autonomous sculpture and installation. Its specific constellation of reference includes everything from vernacular or anonymous urban architectural elements, product display design, and the accidental cumulative aesthetics of, say, the garage, as well as an elaborate, on-going discourse regarding the sculpture and its pedestal that goes back to Brancusi.

Although it features sculptural elements, this exhibition focuses on the artist’s cassette series. Probably the most pictorial aspect of Pernice’s work, the cassettes presented here consist of metal armatures with glass coverings inside of which the artist places two-dimensional material in what he refers to as “a sorting system.” This sorted material can be everything from images, newspaper clippings, a napkin, texts, in one case, images of his own work, so and so forth. Unfixed inside the cassettes loose leaf, so to speak, the material is subject to the same provisionality and indeterminacy known to characterize the sculpture, and as such, functions as unstable elements of what could almost be considered living collages.

Pernice’s exhibition inaugurates the expansion of Lulu through the incorporation of a second space. Located on the street directly in front of the building where Lulu now is, the new space represents a modest expansion of 12 square meters, in addition to the 9 square meters of the current venue. As such, Lulu will now be comprised of two exhibition spaces.

http://www.luludf.com/

Courtesy of Lulu, Mexico City

0Z2A5245

18

43

A sculptor by trade, Pernice’s work exists at the juncture of autonomous sculpture and installation. Its specific constellation of reference includes everything from vernacular or anonymous urban architectural elements, product display design, and the accidental cumulative aesthetics of, say, the garage, as well as an elaborate, on-going discourse regarding the sculpture and its pedestal that goes back to Brancusi.

Although it features sculptural elements, this exhibition focuses on the artist’s cassette series. Probably the most pictorial aspect of Pernice’s work, the cassettes presented here consist of metal armatures with glass coverings inside of which the artist places two-dimensional material in what he refers to as “a sorting system.” This sorted material can be everything from images, newspaper clippings, a napkin, texts, in one case, images of his own work, so and so forth. Unfixed inside the cassettes loose leaf, so to speak, the material is subject to the same provisionality and indeterminacy known to characterize the sculpture, and as such, functions as unstable elements of what could almost be considered living collages.

Pernice’s exhibition inaugurates the expansion of Lulu through the incorporation of a second space. Located on the street directly in front of the building where Lulu now is, the new space represents a modest expansion of 12 square meters, in addition to the 9 square meters of the current venue. As such, Lulu will now be comprised of two exhibition spaces.

http://www.luludf.com/

Courtesy of Lulu, Mexico City

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Faux Pas

epiPHONÍA

Final de partida

At the Center of the World