{"id":10597,"date":"2015-05-22T10:05:06","date_gmt":"2015-05-22T08:05:06","guid":{"rendered":"http:\/\/www.conceptualfinearts.com\/cfa\/?p=10597"},"modified":"2015-05-22T18:30:11","modified_gmt":"2015-05-22T16:30:11","slug":"nicole-wermers","status":"publish","type":"post","link":"https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/22\/nicole-wermers\/","title":{"rendered":"At Turner Prize 2015 Surrealists root for Nicole Wermers"},"content":{"rendered":"\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 33%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-10597 gallery-columns-3 gallery-size-thumbnail'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/22\/nicole-wermers\/1-16\/'><img loading=\"lazy\" decoding=\"async\" width=\"113\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/11-360x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10598\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10598'>\n\t\t\t\tNicole Wermers, Untitled Chair, \u2028Brown tipped arctic fox, steel tubing, upholstery, silk and velvet. Courtesy Herald St. London.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/22\/nicole-wermers\/8-7\/'><img loading=\"lazy\" decoding=\"async\" width=\"113\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/8-360x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10606\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10606'>\n\t\t\t\tNicole Wermers, Untitled Chair, \u2028Brown tipped arctic fox, steel tubing, upholstery, silk and velvet. Courtesy Herald St. London.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/22\/nicole-wermers\/6-11\/'><img loading=\"lazy\" decoding=\"async\" width=\"113\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/61-360x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10603\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10603'>\n\t\t\t\tNicole Wermers, Infrastruktur, Installation view. Courtesy Herald St. London\u2028.\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/22\/nicole-wermers\/5-13\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"114\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/51-480x366.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10602\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10602'>\n\t\t\t\tNicole Wermers, Infrastruktur, Installation view. Courtesy Herald St. London\u2028.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/22\/nicole-wermers\/10-5\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"113\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/10-480x360.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10605\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10605'>\n\t\t\t\tNicole Wermers,\u00a0Il Dehors,\u00a02012, mixed media, dimensions variable. Courtesy  Tanya Bonakdar NY.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/22\/nicole-wermers\/2-12\/'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"114\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/21-480x364.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10599\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10599'>\n\t\t\t\tNicole Wermers, Buhuu Suite (Two of Threesome), \u20282011, \u2028C-print, stainless steel clips, clip frame, \u202840 x 30 x 1.5 cm \/ 15.7 x 11.8 x 0.6 in.\u2028 Courtesy of the artist.\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/www.conceptualfinearts.com\/cfa\/2015\/05\/22\/nicole-wermers\/3-15\/'><img loading=\"lazy\" decoding=\"async\" width=\"115\" height=\"150\" src=\"https:\/\/www.conceptualfinearts.com\/cfa\/CFA-content\/uploads\/2015\/05\/31-369x480.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-10600\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-10600'>\n\t\t\t\tNicole Wermers, Buhuu Suite (Two of Threesome), \u20282011, \u2028C print, stainless steel clips, clip frame\u2028, 40 x 30 x 1.5 cm \/ 15.7 x 11.8 x 0.6 in\u2028. Courtesy of the artist.\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>Turner Prize 2015 short-list that was announced\u00a0last\u00a0week proved the fact that, during the times we are going through, the need for tangibility in art is a topic under discussion.<\/p>\n<p>&nbsp;<\/p>\n<p>An archive in form of a study room presented by the multidisciplinary artist Bonnie Camplin, Janice Kerbel\u2019s one-off operatic performance work consisting by a musical composition, and the\u00a0transform of a housing estate in Liverpool by a collective of eighteen designers and makers\u00a0are\u00a0three of the four \u201cworks\u201d that caught the jury\u2019s attention and will participate at the <a href=\"http:\/\/www.tate.org.uk\/whats-on\/tramway\/exhibition\/turner-prize-2015\" target=\"_blank\">Turner prize exhibition in Glasgow opening at October 1st<\/a>, with the \u00a325,000 winner announced on 7 December.<\/p>\n<p>&nbsp;<\/p>\n<p>As for the fourth nominee, German-born artist Nicole Wermers is the only one from the list who was chosen for presenting what could be called a traditional art show at Herald St. gallery in Bethnal Green last February, called \u201c<a href=\"http:\/\/www.heraldst.com\/infrastruktur\" target=\"_blank\">Infrastruktur<\/a>\u201d.<\/p>\n<p>&nbsp;<\/p>\n<p>The core of the show was\u00a0a series of unique dining chair and fur coat assemblages. The only detail\u00a0revealing\u00a0that the viewer is\u00a0not in front of an extreme coincidence of elegance where dazzling furs\u00a0are\u00a0resting on a dozen of Marce Breuer\u2019s \u201cCesca\u201d chairs, is the stitching of the furs around the chairs\u2019 back, marking the\u00a0birth of those\u00a0lavish sculptures, where\u00a0an\u00a0iconic design item of the 20th century meets the most\u00a0fetishised\u00a0item in the female closet.<\/p>\n<p>&nbsp;<\/p>\n<p>The power of the show lies in the seriality of the works.\u00a0Via this repetition, the viewer grasps\u00a0the opportunity to examine the differences among the sculptures.\u00a0In fact, the colour each one of the seats&#8217; bottoms, is in accordance with the colour of the fur which is sewn on it.\u00a0This peculiar twist, with a hint of effective Surrealism, comments on critical contemporary social issues depending on functionality, social identity, lifestyle, class, consumption and control.<\/p>\n<p>&nbsp;<\/p>\n<p>Wermers\u2019 allusive take on functional elements is also manifested in the piece titled \u201cManners\u201d. In 2013, the artist was commissioned by Tate Britain to redesign the teaspoon of the museum\u2019s newly refurbished caf\u00e9.\u00a0What the artist did was to create a spoon that consisted of two \u2018bowls\u2019, one at either end of the handle.<\/p>\n<p>&nbsp;<\/p>\n<p>When someone thinks about the fur coats\u00a0that\u00a0replace the chairs\u2019 back in \u201cUntitled Chairs\u201d, and the transform of the tea spoon\u2019s design in \u201cManners\u201d, can not help but bring in mind Meret Oppenheim\u2019s fabled fur-covered cup, saucer, and spoon.<\/p>\n<p>&nbsp;<\/p>\n<p>The story about Oppenheim\u2019s most iconic work says that the fur-covered up objects were inspired by a conversation among Oppenheim, Pablo Picasso and Dora Maar at a Paris caf\u00e9. Admiring Oppenheim\u2019s fur-covered bracelet, Picasso remarked that one could cover anything with fur, to which she replied, \u201cEven this cup and saucer.\u201d When Oppenheim was asked by Andr\u00e9 Breton to participate in the first Surrealist Exhibition, she accomplished her previous bizarre remark, presenting the fur-covered cup objects.<\/p>\n<p>The anecdote above, where an unexpected incident of such significance becomes the reason to capture a story that otherwise would not have been registered, creates the urge to put that specific\u00a0set-up\u00a0under the spotlight, and manifest it as something different from what it was initially supposed to be.<\/p>\n<p>&nbsp;<\/p>\n<p>This exact kind of re-examination happens in Nicole Wermers installation \u201c<a href=\"http:\/\/www.tanyabonakdargallery.com\/exhibitions\/nicole-wermers-il-dehors\" target=\"_blank\">Il Dehors<\/a>\u201d, presented in 2012 at Villa Massimo\/German Academy in Rome. The private space of the gallery was now the simulation of a Roman plaza, featuring an excessive installation of furniture and table accessories of various Roman bars and restaurants that the artist had borrowed or rented from their owners. Dismantled from its functional use, the furniture becomes the subject of an observation that investigates the ways that the private initiatives structure their profit methods by treating the urban space as private. This observation is taking place once again through the prism\u00a0of design\u00a0and also the aesthetic intervention of the artist, who in this case designed the Italian style stainless steel napkin dispensers, that the tables were equipped with.<\/p>\n<p>&nbsp;<\/p>\n<p>The consumer culture and the ways that are designated for its perception seem to be a recurring pattern in Nicole Wermers work. In \u201cBuhuu Suites\u201d (2011), we see again the dialogue between the aesthetic approach on the form and the social, economical and psychological aspects of the appropriation of the urban space taking\u00a0place, this time\u00a0embodied in a different medium. By visiting the Rodin Museum in Paris and capturing the works just like a common visitor would do, she examines how the exhibits are displayed in a ritualized context that belongs to a constricted environment, which is relegated to a certain way of thinking and experience. For the frame of her pictures, the artist created geometrically shaped stainless still clips, starting a formalistic dialogue between the works in the museum and her\u00a0own\u00a0contemporary approach.<\/p>\n<p>&nbsp;<\/p>\n<p>Nicole Wermers\u2019 tongue in cheek observation of social phenomena shares the same ambition with this year\u2019s Turner Prize, for an invitation to slow down and investigate things we might have overlooked by letting them surprise us.<\/p>\n<p>&nbsp;<\/p>\n<p>We look forward to seeing the work that Nicole Wermers will present at the Turner Prize exhibition in Glasgow, and we will also wait impatiently to see if the other nominees will manage this time to manifest in their shows the sensitivity that was absent from the works they were nominated for, if we accept the fact that were any works in general.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Turner Prize 2015 short-list that was announced\u00a0last\u00a0week proved the fact that, during the times we are going through, the need for tangibility in art is a topic under discussion. &nbsp; [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":10605,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1796],"tags":[1967],"class_list":["post-10597","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mapping-the-artscape","tag-nicole-wermers"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/10597","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/comments?post=10597"}],"version-history":[{"count":0,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/posts\/10597\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media\/10605"}],"wp:attachment":[{"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/media?parent=10597"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/categories?post=10597"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.conceptualfinearts.com\/cfa\/wp-json\/wp\/v2\/tags?post=10597"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}