Tiempo de lectura: 2 minutos
Downtown Photoroom, Los Angeles, USA
20 de septiembre de 2014 – 1 de noviembre de 2014
Downtown Photoroom is pleased to present Better Climate Options, an exhibition of new works by Debora Delmar Corp & Carson Fisk-Vittori.
For both DD Corp. and Fisk-Vittori the photographic image is often utilized in their artistic practices, combining appropriated images from advertising and the internet or using images captured by the artists themselves. These images draw from the language of consumer culture and are presented in a way that reflects the nature of photographs in our world: simultaneously latent and ubiquitous.
Using this vocabulary, Better Climate Options examines ideas of potential. For Fisk-Vittori, these new works continue to explore her interests in climate as commodity, with water representing not only types of weather, but life itself. Water is essential and pervasive, ever effected by its environment, absorbing qualities of all which surrounds it. In these new sculptural assemblages, Fisk-Vittori combines images of animals feeding upon one another, recycled-glass surfaces, automobiles, perfume advertisements, and land and seascapes with materials also associated with water – tiles, hoses, faucets, and bottles. The work conjures feelings associated with the fantasy offered by cosmetic advertising, while also compelling consideration of the use of water and our impact on the very real world in which we live.
Debora Delmar Corporation debuts new work utilizing the screen shot, one of the newest forms of photography. These images, selections of interior spaces from the viral Kim Kardashian Hollywood app, are presented on new wall-works, which combine granite countertops, cutting boards, and keys. With these works, DD Corp expands on her interest in aspirational aesthetics – how the desire to acquire certain markers of taste, status, and lifestyle can define personalities and provide access to social strata. Along with a large print on fabric, these works consider the changing aims of the contemporary bourgeoisie, where a mobile game may encourage players to pay real cash for virtual vanity, and social climbing simply a click away.
Better Climate Options, for each artist, is an inquiry into “the good life.” What does that mean in contemporary culture and how is that accomplished? If the good life is even achievable, is it a public or private concern? What role do luxury goods, health and eco-trends, and other first world concerns play in the formation of global notions of goodness?
Better Climate Options.