Love Handles
2017, Dortmunder Kunstverein, Dortmund
In her sculptural, predominantly installative work, Tel Aviv based Naama Arad (*1985)
examines the relationship between humans and objects. From this point of view, her
work explores themes on gender, sexuality, power and language. With a subtle sense of
humour and made from everyday mass-produced items, her sculptures reveal an almost
symbiotic relation between the individual and the objects surrounding it.
Arad discovers chains of associations based on formal, aesthetic or linguistic aspects everywhere, be it on her way to the bakery, to the cra s store, hardware depot or the o ce supplier. e mass-produced, ambiguous commodities act as her material for seemingly surreal ip- op images: A yswatter is both the female genital area and a phallus at the same time (Master and Servant), a telephone wire and air freshener mimic pubic hair (Legally Blonde, Black Ice). In other pieces, a Stutenkerl– a traditional German pastry formally resembling a gingerbread man smoking a pipe – is trapped behind a shnet-like wire (XX), or Miniature pretzels rain from an entrails-like shape (Feed your Head). e individual objects form gures with identities and genders of their own and, through their inherent symbolism and implications, function as syntactic elements of a three-dimensional arrangement. With each individual constellation and interference between the objects emerge new complementary encodings, leading to new meanings and content that can develop a life of their own based on the viewer’s own intrinsic connotations.
Arad discovers chains of associations based on formal, aesthetic or linguistic aspects everywhere, be it on her way to the bakery, to the cra s store, hardware depot or the o ce supplier. e mass-produced, ambiguous commodities act as her material for seemingly surreal ip- op images: A yswatter is both the female genital area and a phallus at the same time (Master and Servant), a telephone wire and air freshener mimic pubic hair (Legally Blonde, Black Ice). In other pieces, a Stutenkerl– a traditional German pastry formally resembling a gingerbread man smoking a pipe – is trapped behind a shnet-like wire (XX), or Miniature pretzels rain from an entrails-like shape (Feed your Head). e individual objects form gures with identities and genders of their own and, through their inherent symbolism and implications, function as syntactic elements of a three-dimensional arrangement. With each individual constellation and interference between the objects emerge new complementary encodings, leading to new meanings and content that can develop a life of their own based on the viewer’s own intrinsic connotations.
A life of their own, imbued not least by the references to fetishism and animism.
While the former sexually charges inanimate objects that objectively have no inherent
erotic value, the latter animates formerly inanimate matter. us, these charged objects
like the dustpan (Bossy Bottom), the wheelbarrow (Do y Style) or the climbing trellis
(Hounds of Love) encourage the viewer to ask questions of objects that surround them
in their everyday life, seeing that the design of every commodity includes the designer’s
own dispositions and viewpoints at the time
of development.
Arad’s work leaves plenty of room for personal projections and stands in a confusing contrast to the usually functional purpose these everyday items ful l. Moreover, it poses the question of identifying art and non-art: references to classic Readymades and the clarity with which everyday items are loosely yet cleverly combined encourage imitation but also discuss how we assess the rules and worth of art. Arad’s work invites the viewer to an encounter and a dialogue with their unconscious and encourages them to discover their own subjectivity.
Linda Schröer
of development.
Arad’s work leaves plenty of room for personal projections and stands in a confusing contrast to the usually functional purpose these everyday items ful l. Moreover, it poses the question of identifying art and non-art: references to classic Readymades and the clarity with which everyday items are loosely yet cleverly combined encourage imitation but also discuss how we assess the rules and worth of art. Arad’s work invites the viewer to an encounter and a dialogue with their unconscious and encourages them to discover their own subjectivity.
Linda Schröer
2017
Installation View
Doggy Style
2017
Wheelbarrow, dust masks, tights, clay, rubber band, dog leash,
Variable dimensions
Love Handles
2017
Installation View
Love Handles
2017
Installation View
Eating Disorder
2017
Pizza peel, tights, pretzels
Variable dimensions
2017
Color prints, tape, steel trellis, locks, Stutenkerl
130,5 x 47,7 x 8cm
2017
Ring binder, thermometer, shoulder pads, dustpan, suction cups,
elastic straps
105 x 31 x 12cm
2017
Chair seat, tights, ice scoops, air freshener, electrical cable
Variable dimensions
Love Handles
2017
Installation View
2017
Paper doily, continuous hinge, flyswatter
122 x 35 x 26cm
2017
Dog muzzles, plastic fences, coat hangers, pasta, electrical cable
89 x 36,7 x 12cm