Innovating the way in which they are both spatially inhabited and conceptually understood her sculptures provide a bodily and visceral examination of the border between decadence and decay, which in turn registers as complicity among viewers. She uses unexpected combinations of color, materials and form to intensify reception through the illusion inherent in mate- rial ambiguity a testament of her manipulation of space. Liz Larner’s (*1960) purchase on sculpture stems from an unrelenting commitment to question the norms of the medium. By choosing forms that have mostly lost their original meaning, his works are deliberately ambivalent commentaries on how objects are used and misused in their employment for individual or collective intensions, constructions or political contexts. In his work Carron questions the current me- aning of central traditions of contemporary art making such as appropriation and reproduction. Valentin Carron (*1977) works across sculpture, painting and installation. In her collages, sculptures and installations Billy questions our viewing habits and our relationship with the exhibition architecture. She responds to what she encounters by analyzing the reactions between different materials.
Found objects are the starting point and catalyst in her explorations. Inter-related elements become the most important organizational principle in her artistic method. Vanessa Billy’s (*1978) practice is based on material-speci c and formal considerations. In one way or another though they all are concerned with poetic transformations, with the ‘actio et reactio’ of elements, with circular processes without beginning or end, with potentials of threat, with improvi- sed spectacles, with meditative deformations and with criticism of the consumer society – thus re ecting essentials of our current sensibilities and day-to-day world. Some of the works are spectacular and raucous, directly involving visitors while others are characterized more by quietness and conceptual acuity. Unexpected color and material destabilize our sense of volume. The works on display in the exhibition cut against these expectations and are hard to read at rst glance. Viewers customarily use volume, density and mass to make their initial judgments about what an object or sculpture might be and where it is situated both in a space and in terms of their relationship to it. On view are works by Vanessa Billy, Valentin Carron, Liz Larner, Dan Peterman and Joris Van de Moortel.
#ACTIO ET REACTIO CRACK#
there is a crack in everything with sculptures and objects by artists whose practices refer to, expand or go beyond the conventional notion of sculpture and its para- meters. In this experiment, this will be demonstrated by way of two carts on the demonstration track.Galerie Michael Janssen is pleased to announce the group exhibition. If one object exerts a force F on a second object, an opposite force -F acts on the first object. If the only interaction between the objects is elastic collisions, the energy is also conserved. If no external force acts on a closed system of objects, the total momentum p of the system is conserved and the centre of gravity of the system remains constant.
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