Through painting, architecture and installation, artist Sarah Sze鈥檚 work attempts to comprehend the endless information that we encounter in contemporary life. She examines how this mass production affects notions of value, and how these objects ascribe meaning to the places and times in which we live. To convey this, everyday objects such as living plants, handmade sculptures, found items and photographs appear within her work, emerging as encyclopaedic landscapes which stretch across gallery spaces and often alter or intervene with the architecture.
Sze鈥檚 work holds its own order that she has personally prescribed, in an attempt to dismantle and reorganise the cumulative evidence of contemporary life which she has collected. In her first major galley show to take place in the USA since representing the country聽in the 55th Venice Biennale (2013), the artist will present new work ranging from large scale installation to small sculptural pieces. This work will challenge the stability of sculpture, and therefore will convey uncertainty about a world overwhelmed by fragments of information. Tools such as pendulums, dioramas and miniature models explore absence and entropy, attempting to map space and time – even if their processes are only fully understood by Sze. Some pieces will expand upon aspects of Sze’s installation in the 56th Venice Biennale, Okwui Enwezor’s All the World’s Futures, in which her open-air field of remnants evoked a ruined garden, suggesting its history within a fictional, deteriorating world.
Sarah Sze,聽10 September – 17 October,聽Tanya Bonakdar Gallery, 521 W 21st St #1, New York, NY 10011, United States;聽
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Credits
1.聽Sarah Sze,聽The Last Garden聽(Landscape of Events Suspended Indefinitely),聽2015.聽Installation in the Giardino delle Vergini聽La Biennale di Venezia 56th聽International Art Exhibition 2015,聽All the World鈥檚 Futures.聽Courtesy the artist and Tanya Bonakdar Gallery, New York;聽聽Victoria Miro, London.
