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Chloe Wise is serving delectable satire on an international scale this month with a solo residency-like exhibition at Galerie Sébastien Bertrand in Geneva Switzerland. That would be something else, my Sweet (June 5-July 4 2015) as a product came about through a few weeks of concentrated production on site. I use the word product to describe her exhibition because Wise deals with the product-centric nature of consumption, to which an art exhibition is no exception. In many ways, the exhibition is a micro-study of the branded production and trended consumption, sexiness because it sells and sexiness because who cares.
Wise is a mixed media satirist, hailing from Montreal where her B.F.A. was acquired at Concordia University. When she is not curating herself-quite literally-through stacks of self-portraits like I am Schnabel in Swiss galleries, her artistic practice of re-fetishization is based in New York City. Artists occupy a unique position as both cultural consumers and producers. Hence, her brand of satire is influenced by fashion, food, literature, sex; essentially all of commodity-driven culture is fair game.
Her Matzochism Cuff Set sat in Galerie Division in Montreal as part of a recent exhibition Pissing, Shmoozing and Looking Away (March 26-May 2, 2015) like a perverse ode to Meret Oppenheimer and her surrealist humour founded in incongruity. Whereas Oppenheimer’s Object entertained its erotic nature only coyly, Wise’s portfolio of bready breakfast foods+recognizably branded fashion accessories+bondage gear sculptures lay the aggressive sexual appeal of consumption all on the table.
Chloe Wise reveals the ubiquitous nature of commodity objects by making her own art commodities wherein the absurdity of fashion, in its broadest sense, is revelled in. Impressively, Wise creates a critical vocabulary of objects that indulge in the commodity culture to which they belong, leaving room for humour and excess to fill gallery spaces at home and abroad.