The three tasks offered underneath the heading “The Window” at Esther Schipper Seoul—Ceal Floyer, Isa Melsheimer, and Karin Sander—every in their very own manner, create worlds for us to go to. However the route of the gaze will go each methods: we could also be wanting in, onto a world, however we’re additionally seen.
Chaos and order, magnificence and hazard, Isa Melsheimer’s sculptures created from inexperienced glass shards appear to mix contradictory impulses. Assembled from a whole lot of items, the sculptures exhibit mutable traits of glass, thus, for instance, the mixture of fragility and energy, and the fabric’s twofold skill to guard from the weather (as window) and threaten violence (as sharp fragment). Made by hand from damaged bottles, they resemble mysterious mountainous landscapes.
Paired with Lorenz Attractor, a large-scale textile work that gracefully interprets complicated mathematical buildings into tremendous yarn embroideries and utilized pearls, Melsheimer’s works imbue “The Window” house with a wealthy net of mental, formal and but visceral associations. The butterfly, chaos concept’s most iconic picture, hovers in Lorenz Attractor as guardian of this new sort of spatial poetics. As well as, a number of gouaches by the artist will likely be offered all through the opposite rooms of the gallery.
The exhibitions draw on the lengthy artwork historic custom of views by way of a window. Whether or not wanting in to find a non-public house or searching to see a wider world, the window has represented the brink between distinct realms. Particularly beloved by 19th century European painters, to the Romantics the view out of the window represented a boundary between inside ideas and the surface, between non-public and public, however typically additionally between constraint and the liberty to wander the world. Their view into the world represented a longing to see distant lands.
at Esther Schipper, Seoul
till Could 26, 2023