c,o,n,t,i,n,u,o,u,s & c-o-n-n-e-c-t-e-d
Aran Cravey Gallery is pleased to present c,o,n,t,i,n,u,o,u,s & c-o-n-n-e-c-t-e-d, a solo exhibition of works by artist Bea Fremderman.
Mining the office spaces of the corporate world, Bea Fremderman deconstructs the commercial structural materials of the institutional work environment and reassemblages them into concise sculptural statements that undermine the very bureaucratic system for which they were made to uphold. Through her mixed media sculptures, photography and video works, Fremderman molds the elements of a capitalist context into a reflection of the daily life that has slipped away from society’s consciousness.
The following is taken from an instant message (IM) conversation between the artist (bea) and the gallery assistant director, Whitney Lasker (me).
. . . .
bea: and it sorta operates in the same way the work does
as in making the viewer ask questions of its legitimacy
you know what i mean?
me: did the work do that?
bea: i think so
because materials are easily recognizable but then they are arranged in a way that doesn't make sense
it undermines the use of the materials
or how they are supposed to function which make you question things
cause the materials are subject to aesthetic choices
instead of practical or functional ones
me: its funnie your work is more nostalgic to me then anything else no
bea: yea i agree
but what's interesting...is that nostalgia isn't very distant...a lot of offices still look that way/are made up of the same materials
it's not just office, but also institutional places
me: yeah totes
bea: that are bureaucratic in nature / structure
me: ok ok
bea: they are bureaucratic places made up of these materials
me: yes yes
bea: and by disassembling their structure into parts and segments and then reassembling them the way i see fit
is a way of questioning those structures
and how legitimate they are
me: is it?
but its funnie cus it such a small part of the structure
bea: i mean, that's my intent with making them. it's playful aesthetically and i don't force a political message...but it's why i made the work
and to someone walking up to them as a viewer, i feel like there are parts and pieces you recognize because of their materials but their overall construction is bizarre cause it's sort of familiar but then not quite
me: its like the atomic elements of the structure
bea: yea definitely
i guess when people want to just talk about the political message i want to urge them to not make it all about the work
because there are aesthetic things
and i don't want to make it so heady
me: but just the materials which is nice approach
bea: i want ppl to also enjoy it
cause it's so playful
and at the same time when the only thing you see is aesthetic i want to bring in a more serious content
me: lol you're like >>>but its playful!!!
bea: it is
i mean i'm talking to u like a friend
not trying to get you to write a press release or something lol
me: lol this is the press release
bea: i mean i definitely try my hardest to work with both concepts and angles ....the conceptual/political side and also the playful/aesthetic/form side
that's how i formulate my work, i want it to be accessible to both views
and for each side to see the other
Bea Fremderman (b.1988) Born in Kishinov, Moldova, Bea Fremderman finished her studies at The School of the Art Institute in Chicago in 2012 where she presently lives and works. Her current research interests are American corporate office design, Franz Kafka, bureaucratic structures and false notions of freedom. Fremderman's work has been exhibited in Mexico and Canada, and throughout the United States and Europe. Recent exhibitions include S,M,L,XL (2012, Appendix Gallery, Portland, OR), A Cast Of Something Else (2012, Narwhal, Toronto, Canada), Take Me In Your Arms And Fuck Me (2009 Preteen Gallery, Hermosillo, Mexico) and Younger Than Jesus (2009, The New Museum, New York, NY). In 2012 Fremderman was awarded the BFA Fellowship Award and the Fred Endsley Memorial Fellowship from the School of the Art Institute of Chicago.