Meanwhile, it seems to have now all metabolized literally and elegantly into a classic potpourri. Perhaps it was there the whole time, but I’m really smelling it now." It might seem like a coincidence but of course these things are carefully coordinated, orchestrated, scripted. That place where, when you go to grab your stress relieving herbal tea, you bump up against a cache of chocolate mints stockpiled for the reception desk. "So this mouth, this orange grove, this shrub or bush or whatever that began at the very start of the catchall 'holiday' season (also coincidentally citrus season), now feels in the post-Valentine's world more like a cramped bodega or some kind of storage. Across these racks, a drama of objects plays out in several acts that evolve from moments of ontological confusion and language play. The racks have been encased in Magic-Sculpt and kitty litter, confusing the already ambiguous form of the shelf-at once decidedly overdetermined and utterly abstract. Lupo has created a loose structure from 28 racks meant for under-sink bathroom storage, which she configured into a “U” shaped structure where the 28 racks stand in for teeth in a closed human jaw. Swiss Institute is pleased to present the first institutional solo exhibition in the United States of LA-based artist Nancy Lupo, who will present a new sculpture. ONE FOR ALL | Nancy Lupo: Parent and Parroting Source material ranges widely from The Maltese Falcon (1941) and Teorema (1968) through 9 1/2 Weeks (1986) and The Princess Diaries (2001), to the The Twilight Zone (1969–64), Melrose Place (1992–99) and The X-Files (1993–2002). The exhibition includes new commissions from Danai Anesiadou, Michael Bell-Smith, Dora Budor, Heman Chong, Mike Cooter, Brice Dellsperger, Mathis Gasser, Jamian Juliano-Villani, Bertrand Lavier, Christian Marclay, Rodrigo Matheus, Carissa Rodriguez and Amie Siegel.
From many such narratives, FADE IN draws out the art objects, granting them the status only previously achieved on-screen, whilst pointing to moments in which one form of media wrangles with the power of another.
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Across genres, the character of the artist is habitually portrayed as a volatile, mercurial figure with license to subvert societal norms, who is thereby ridiculed, feared and revered. Such themes were famously explored in the 1945 film adaptation of Oscar Wilde’s The Picture of Dorian Gray, from which Cindy Sherman has sourced the original portrait painted for the production. Certain preoccupations with artworks are established early on in cinematic history: the preciousness of art objects anchors their roles as plot drivers, and anxieties intensify regarding the vitality of artworks and their perceived abilities to wield power over viewers or to capture spirits. The nature of the exhibition is such that sculptures, paintings and installations transition from prop to image to art object, staging an enquiry into whether these fictional depictions in mass media ultimately have greater influence in defining a collective understanding of art than art itself does. These works have been sourced, reproduced and created in response to artworks that have been made to appear on-screen, whether as props, set dressings, plot devices, or character cues. FADE IN features the work of 25 artists and considers a history of art as seen in classic movies, soap operas, science fiction, pornography and musicals. ART GALLERY – DAY explores the role that art plays in narrative film and television. Recasting the gallery as a set for dramatic scenes, FADE IN: INT. Works by Danai Anesiadou, Nairy Baghramian, Michael Bell-Smith, Dora Budor, Heman Chong, Mike Cooter, Brice Dellsperger, GALA Committee, Mathis Gasser, Jamian Juliano-Villani, Bertrand Lavier, William Leavitt, Christian Marclay, Rodrigo Matheus, Allan McCollum, Henrique Medina, Carissa Rodriguez, Cindy Sherman, Amie Siegel, Scott Stark, and Albert Whitlock performances and public programs by Casey Jane Ellison, Mario García Torres, Alex Israel, Thirteen Black Cats, and more.
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