Ceal Floyer

Ceal Floyer
October 29, 2015 – January 10, 2016

Vorsicht Stufe, 2006

Ready-made signs affixed to staircase

Installation on existing stairs 

Several identical brass signs saying "Mind the step" are installed on each step of a staircase. A danger of stumbling may be generated by wanting to read the signs, thwarting the advice to use caution. It is also the repetition that empties the signs of their usefulness as warning. 

 

Photo © Andrea Rossetti

Vorsicht Stufe, 2006 (detail)

Ready-made signs affixed to staircase

Installation on existing stairs

Several identical brass signs saying "Mind the step" are installed on each step of a staircase. A danger of stumbling may be generated by wanting to read the signs, thwarting the advice to use caution. It is also the repetition that empties the signs of their usefulness as warning. 

 

Photo © Andrea Rossetti

Vorsicht Stufe, 2006 (detail)

Ready-made signs affixed to staircase

Installation on existing stairs

Several identical brass signs saying "Mind the step" are installed on each step of a staircase. A danger of stumbling may be generated by wanting to read the signs, thwarting the advice to use caution. It is also the repetition that empties the signs of their usefulness as warning. 

 

Photo © Andrea Rossetti

From left to right: 

 

Overhead Projection, 2006
Incandescent light bulb on overhead projector
The image of a clear glass bulb is thrown up high up onto the top of the wall where it touches the ceiling. The projected image of the bulb thus gives the illusion of hanging from the ceiling to illuminate the room. 
 

Half Full, 1999

C-print, mounted on Dibond

A glass halfway filled with water could also be halfway emptied of it. Only the title of the work gives an indicator to which one it is, referring to the subjective outlook of the person assessing it.

 

Saw, 2015

Blade, acrylic, chalk marker

A large serrated saw blade appears to stick out from the floor, ostensibly in the process of cutting a large circular hole into the ground. The work dramatically changes the way we experience the room, undermining the trust in the permanence of the ground on which we stand. 

 

Photo © Andrea Rossetti

Overhead Projection, 2006
Incandescent light bulb on overhead projector
The image of a clear glass bulb is thrown up high up onto the top of the wall where it touches the ceiling. The projected image of the bulb thus gives the illusion of hanging from the ceiling to illuminate the room. 

 

Photo © Andrea Rossetti

Saw, 2015

Blade, acrylic, chalk marker

A large serrated saw blade appears to stick out from the floor, ostensibly in the process of cutting a large circular hole into the ground. The work dramatically changes the way we experience the room, undermining the trust in the permanence of the ground on which we stand. 

 

Photo © Andrea Rossetti

From left to right:

 

Drop, 2013

HD video, silent

Duration 11:18 min (looped)

The video appears to show a number of drops of water hanging precariously on a horizontal branch. Oddly transfixed, the spectator cannot help but wait for the next drop to fall. Their extremely slow transformation alters the perception of the elapsed time and of the scale. 

 

Ladder, 2010

Aluminium ladder

The work takes an everyday household object as its starting point. The ladder is modified and deprived of its original function, so that the beginning and end of the journey are there but literally the steps in between are taken away.

 

Half Full, 1999

C-print, mounted on Dibond

A glass halfway filled with water could also be halfway emptied of it. Only the title of the work gives an indicator to which one it is, referring to the subjective outlook of the person assessing it.

 

Ongoing Projection, 2001

DVD projection/installation (silent), DVD player, projector, AV stand

 

Photo © Andrea Rossetti

Ladder, 2010

Aluminium ladder

The work takes an everyday household object as its starting point. The ladder is modified and deprived of its original function, so that the beginning and end of the journey are there but literally the steps in between are taken away.

 

Working Title (Digging), 1995 (background)
CD, CD player, 2 hi-fi speakers, amplifier, cabling
The sound work is created with two speakers: one plays the sounds of a shovel digging, the other, at some distance, the sound of the earth landing. 

 

Photo © Andrea Rossetti

Helix, 2015

Shelf, stencil, diverse objects

Thirty-two objects have been chosen according to the ability of one of their ends to fit into the differently sized circular openings in a stencil. This ready-made template, with the brand name Helix, is seen at the base of the work. 

 

Photo © Andrea Rossetti

Circle, 2015 (left)

Two set squares

The eponymous circle is created from the two semi-circles printed on the each of the two geometric set squares (or set triangles in American usage) that are placed together, in fact forming a square.

 

Garbage Bag, 1996 (right)

Black plastic garbage bag, air, twist tie

Tied shut and apparently full, a garbage bag is placed close to a doorway. It is filled with air.

 

Photo © Andrea Rossetti

Ceal Floyer

Ceal Floyer
Kunstmuseum Bonn
October 29, 2015 – January 10, 2016
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Ceal Floyer, born in 1968, is an artist who has lived many years in Berlin, whose art seems almost to be hiding. With strict simplicity, fine irony and a feeling for the absurd, her works question our usual perceptual patterns. Her precise acts show unexpected gaps between the visible and the invisible, between reality and language. Despite, and especially with, the use of everyday objects she generates productive irritations, illusions and delusions, which with their own logic incite an open process of thinking and seeing. Her art is conceptual and sensual, minimal in its outlay and yet of great complexity. She always (re)acts in relation to the relevant setting and studies how to deal with it, as also at the Kunstmuseum Bonn. In the exhibition especially conceived for the museum, new works but also a selection of works from Floyer’s prior production are on show.

 

Ceal Floyer’s biography includes many solo exhibitions, most recently in Museion, Bozen (2014), the Kölnischer Kunstverein (2013) and Kunst-Werke, Berlin (2009). In 2007 she was awarded Nationalgalerie Berlin’s prize for young art as well as the Nam June Paik Art Center Prize (2009). She was represented at the Venice Biennale (2009), the Biennial in Singapore (2011) and documenta 13 (2012). 

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