Christoph Meier: C & O

2017
English / German
192 pages
softcover, 24,5 x 17 cm
ISBN 9788867492671

€ 28

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Christoph Meier, Anna Nowak, and Bettina Steinbrügge. eds. Texts by Vanessa Joan Müller, Anna Nowak, Thomas D. Trummer

“Richard Hamilton’s famous artwork might be a good entry point to the work of Christoph Meier. In “Just what is it that makes today’s homes so different, so appealing?” Hamilton defined consumer society in 1956; his collage was an allegory rather than a representation. The piece is all about new media and communication, about everyday materials and design, a structural analysis of a new world order that was coming into being.
Analogous to Hamilton, Meier fills his spaces with domestic objects and materials taken from industrial society, and connected to technology and craftsmanship. Meier defines the space by installing a grid that, in a deviant way, doesn’t accept the limitations or the obvious constraints of this very area it’s occupying. In subverting the grid, referred to as the emblem of Modernism by Rosalind Krauss, can we conclude that Modernism no longer accepts the modernist exhibition space, the White Cube, anymore? Or that the values of Modernism clash with reality? Christoph Meier is imposing on us a game of fruitful contradictions in order to make us understand the concepts, frictions and rules of today’s art institutions and art productions.”
This publication is a result of the collaboration between three different institutions – Kunstverein in Hamburg, Casino Luxembourg, and KIOSK in Ghent – who all have presented solo shows by Christoph Meier. This exhibition catalogue aims to illuminate the many different aspects, detours and vantage points in Meier’s practice, examined in three in-depth articles by Vanessa Joan Müller, Anna Nowak, and Thomas D. Trummer.

Christoph Meier: C & O

28.00

28.00Add to cart

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“Richard Hamilton’s famous artwork might be a good entry point to the work of Christoph Meier. In “Just what is it that makes today’s homes so different, so appealing?” Hamilton defined consumer society in 1956; his collage was an allegory rather than a representation. The piece is all about new media and communication, about everyday materials and design, a structural analysis of a new world order that was coming into being.
Analogous to Hamilton, Meier fills his spaces with domestic objects and materials taken from industrial society, and connected to technology and craftsmanship. Meier defines the space by installing a grid that, in a deviant way, doesn’t accept the limitations or the obvious constraints of this very area it’s occupying. In subverting the grid, referred to as the emblem of Modernism by Rosalind Krauss, can we conclude that Modernism no longer accepts the modernist exhibition space, the White Cube, anymore? Or that the values of Modernism clash with reality? Christoph Meier is imposing on us a game of fruitful contradictions in order to make us understand the concepts, frictions and rules of today’s art institutions and art productions.”
This publication is a result of the collaboration between three different institutions – Kunstverein in Hamburg, Casino Luxembourg, and KIOSK in Ghent – who all have presented solo shows by Christoph Meier. This exhibition catalogue aims to illuminate the many different aspects, detours and vantage points in Meier’s practice, examined in three in-depth articles by Vanessa Joan Müller, Anna Nowak, and Thomas D. Trummer.