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Josephine Meckseper

Proyectos Monclova, Mexico City, México
September 22, 2017 – October 28, 2017

Meckseper’s practice is premised in a consideration of the visual and material cultures of consumerism, art history, counter-culture, and 20th century modes of display through installations, assemblages, and film.

Using methods of retail display such as glass vitrines, shelves, shop windows, combined with a methodical and confrontational use of mirrors and reflection, her work establishes a non-linear narrative that highlights capitalism’s infinite tendency to appropriate, replicate, and corrupt.

In her show at PROYECTOSMONCLOVA, Meckseper juxtaposes paradoxical elements such as a film still of Sharon Stone, references to Brancusi’s endless column, a mannequin hand, and a painting that reads AUSSTELLUNG [exhibition]. A series of paintings of casual brushy strokes made with toilet wands eludes to mid-century master works, but here the painter’s canvas has been substituted by blue denim, replacing the traditional bourgeois canvas for a working class and revolutionary signifier.

Her film DDYANLALSATSY is a supercut of footage from the 1980’s American culture touchstone television shows Dynasty and Dallas. Featuring scenes of exploding oil rigs, diamond necklaces, cowboys on horses, ejaculating champagne bottles, and protesters brandishing signs behind a chain-link fence that say “Americans GO HOME!”, these soft-focus media fantasies of dissent and affluence resonate now as self-fulfilling prophesies. Set to a Detroit acid house dance track and reflected in a mirror floor sculpture, the vintage TV footage hauntingly forecasts the current explosive political climate of the United States.

Kim Córdova


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