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Rockpool, 2022 /
Two tonnes of coarse salt, extracted from the Mojave Desert, hand-curved, powder-coated and lacquered steel / 
20 m × 6.43 m × 20 cm /
Courtesy the artist and High Desert Test Sides /
Photo: Sarah Lyon

Rockpool, 2022 /

Two tonnes of coarse salt, extracted from the Mojave Desert, hand-curved, powder-coated and lacquered steel /

20 m × 6.43 m × 20 cm /

Courtesy the artist and High Desert Test Sides /

Photo: Sarah Lyon

Soft Sediment Deformation (Iron Bodies), 2023 /

Opal pleated inkjet prints on and in heavy crepe de Chine / ca. 800 × 200 × 270 cm /
Photo: Rob Harris

Soft Sediment Deformation (Iron Bodies), 2023 /

Opal pleated inkjet prints on and in heavy crepe de Chine / ca. 800 × 200 × 270 cm /

Photo: Rob Harris

Life Without Air (Mesophyll), 2022 /
Silk Cut cigarette ash, polyethylene microspheres 500–850 μm, pencil, and water on and in paper, framed /
35.6 × 47.8 × 3.3 cm /
Photo: Lucy Dawkins

Life Without Air (Mesophyll), 2022 /

Silk Cut cigarette ash, polyethylene microspheres 500–850 μm, pencil, and water on and in paper, framed /

35.6 × 47.8 × 3.3 cm /

Photo: Lucy Dawkins

Dry Cask (Silk Cut), 2023
Mirror-polished, lazer-cut, curved and welded sheet stainless steel, accordion-pleated crepe satin silk, sand-cast, vapor-blasted and chromed aluminium, sand-cast and vapor-blasted aluminium /
28 × 58 cm; 24 × 60 cm; 26 × 63 cm /
Photo: Lucy Dawkins

Dry Cask (Silk Cut), 2023

Mirror-polished, lazer-cut, curved and welded sheet stainless steel, accordion-pleated crepe satin silk, sand-cast, vapor-blasted and chromed aluminium, sand-cast and vapor-blasted aluminium /

28 × 58 cm; 24 × 60 cm; 26 × 63 cm /

Photo: Lucy Dawkins

Birthing Pool, 2019 /
Accordion pleated high-tech lamé, accordion pleated polyester satin, accordion pleated “women ladies animal leopard snake PU PVC wet look shiny legging fashion pant new”, accordion pleated “sexy ladies high waist wet look skinny leather leggings pants trousers black”, mirror-polished stainless steel, pelletised and recycled HDPE /
372 × 172 × 8.5 cm / Installation: variable dimensions /

Photo: Tim Bowditch

Birthing Pool, 2019 /

Accordion pleated high-tech lamé, accordion pleated polyester satin, accordion pleated “women ladies animal leopard snake PU PVC wet look shiny legging fashion pant new”, accordion pleated “sexy ladies high waist wet look skinny leather leggings pants trousers black”, mirror-polished stainless steel, pelletised and recycled HDPE /

372 × 172 × 8.5 cm / Installation: variable dimensions /

Photo: Tim Bowditch

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Alice Channer

Heavy Metals / Silk Cut

2 July – 8 October 2023 / Kunstmuseum / Kunsthalle

In her sculptures Alice Channer (*1977, Oxford, UK, lives and works in London) explores the relationship between materials, bodies, machines and industrial or technological processes. With relish, she combines her highly industrialised objects with human gestures or with natural traces such as physical or geological remains.

Exhibition

The ex­hib­i­tion Heavy Metals / Silk Cut spans across the two build­ings of the Kun­st­mu­seum and the Kun­sthalle Ap­pen­zell. It fea­tures new works, in­clud­ing an ar­chi­tec­tur­al in­ter­ven­tion, com­ple­men­ted by an over­view of sculp­tures, draw­ings and in­stall­a­tions from the last dec­ade.

In her ex­plor­a­tions of ma­ter­i­als and pro­cesses, Alice Chan­ner casts and bends metals or folds fab­rics, draws with ci­gar­ette ash and mani­fests the hid­den di­men­sions of the world of mat­ter. She of­fers a per­spect­ive on what lies bey­ond the cat­egor­ies and as­sump­tions that shape our per­cep­tion of ob­jects and our re­la­tion­ship to them. Chan­ner­’s works con­sist of geo­lo­gic­al and nat­ur­al ma­ter­i­als or rep­res­ent­a­tions of nat­ur­al ele­ments, such as shells, fin­gers or stones. The artist trans­forms these in pro­found, syn­thet­ic pro­cesses, often in pro­fes­sion­al man­u­fac­tur­ing fa­cil­it­ies that have noth­ing to do with the pro­duc­tion of art, such as factor­ies for paint coat­ing or the chem­ic­al in­dustry. She had, for ex­ample, the shells of spider crabs and brown crabs va­cu­um-met­al­lised, al­low­ing the au­then­t­ic phys­ic­al­ity of these ob­jects to col­lide with the res­ult of identic­al, rhythmic and mech­an­ic­al work­ing steps. In­dus­tri­al meth­ods of pro­duc­tion, such as the pre­ci­sion en­gin­eer­ing of CNC milling to shape alu­mini­um into the de­sired form or cou­ture tech­niques to fold im­ages of geo­lo­gic­al lay­ers in heavy crêpe de chine, are con­stitutive of form. Chan­ner re­lent­lessly jux­ta­poses the or­gan­ic and the ar­ti­fi­cial, the bio­lo­gic­al and the in­dus­tri­al, weav­ing the traces of pro­duc­tion pro­cesses into the lan­guage of her sculp­tures. She not only con­fronts her artist­ic sig­na­ture with the cold aes­thet­ics of mech­an­ic­al shap­ing, but also points to the fra­gil­ity of the eco­logy with these se­duct­ive yet fra­gile exo­skel­et­ons.

Bio

Alice Chan­ner gradu­ated from Gold­smiths Col­lege, Lon­don (2006), with a Bach­el­or’s de­gree in Fine Art and from the Royal Col­lege of Art, Lon­don (2008), with a Mas­ter­’s de­gree in Sculp­ture. Her work has been ex­hib­ited at the Liv­er­pool Bi­en­nale, UK (2021); 55th Venice Bi­en­nale, IT (2013); and Glas­gow In­ter­na­tion­al, UK (2010). She has had solo present­a­tions at the Aspen Art Mu­seum, Col­or­ado, US (2015); Kest­ner Gesell­schaft, Han­over, DE (2014); Hep­worth Wake­field, York­shire, UK (2013); Kun­stver­ein Freiburg, DE (2013); and South Lon­don Gal­lery, UK (2012). She real­ised works in pub­lic space in Joshua Tree, CA, US (2022); the Uni­ver­sity of the West of Eng­land, UK (2021); and for Artan­gel, UK (2021). She has been rep­res­en­ted in nu­mer­ous group ex­hib­i­tions in­clud­ing Kun­sthalle Ham­burg, DE (2022/23); the Royal Academy of Arts, Lon­don, UK (2022); at Marta Her­ford, DE (2021); York­shire Sculp­ture Park, UK (2021); White­chapel Gal­lery, Lon­don, UK (2017/18); MO.CO. Pan­acée, Mont­pel­li­er, FR (2018); Mu­seum Kur­haus Kleve, DE (2016); Whit­worth Art Gal­lery, Manchester, UK (2016); Aïshti Found­a­tion, Beirut, LB (2015); Pub­lic Art Fund, New York, US (2015); Frider­i­cian­um, Kas­sel, DE (2014); Künst­ler­haus Graz, AT (2014); and Tate Bri­tain, Lon­don, UK (2012).

Curator

Stefanie Gschwend 
Dir­ect­or Kun­st­mu­seum / Kun­sthalle Ap­pen­zell

Publication

On the oc­ca­­sion of the ex­­hib­i­­tion, a com­­pre­hens­ive, mono­­graph­ic cata­­logue (En­g­l­ish / Ger­­­man) de­signed by Math­­i­as Clottu was pub­lished with es­­says by Ros­anna McLaugh­lin and Zoë Gray, an ex­­per­­i­­ment­al text by Daisy Hild­y­ard and an in­­ter­­view by Stefanie Gschwend with Alice Chan­n­er.

Alice Chan­ner. Heavy Metals / Silk Cut, Ap­pen­zell: Kun­st­mu­seum / Kun­sthalle, 2023, ed. Stefanie Gschwend; Kun­st­mu­seum / Kun­sthalle Ap­pen­zell, Ber­lin: Dis­tanz Ver­lag, 2023. ISBN 978-3-95476-605-5

CHF 62 + ship­ping
Order here

The exhibition is kindly supported by

Hein­rich Ge­bert Kul­turstif­tung Ap­pen­zell
Hans und Wilma Stutz Stif­tung
Gold­smith, Uni­ver­sity of Lon­don
Galer­ie Kon­rad Fisc­her
Kan­tonales Landes­bauamt Ap­pen­zell In­nerr­hoden
Ernst und Olga Gu­bler-Hablützel Stif­tung

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