The Institute of Modern Art (IMA) in Brisbane, Australia, is delighted to present the first Australian solo exhibition by the acclaimed artist Céline Condorelli: *Corps à Corps*. This immersive exhibition, occupying both the IMA's indoor and outdoor spaces, marks a significant moment in the Australian art landscape, introducing a major voice in contemporary sculpture and installation art to a new audience. Condorelli's work, deeply engaged with material politics and the subtle ways objects and environments shape our experience, promises a compelling and thought-provoking engagement for visitors. This article will delve into the exhibition, exploring its themes, Condorelli's artistic practice, and the broader context of her work within contemporary discourse.
Céline Condorelli: A Sculptor of Spaces and Experiences
Céline Condorelli's artistic practice transcends the traditional boundaries of sculpture. Her work is less about creating discrete objects and more about crafting experiences, orchestrating encounters between the viewer and the environment. She utilizes a diverse range of materials—from industrial fabrics and found objects to meticulously crafted forms—to create installations that are both meticulously planned and subtly improvisational. This approach allows for a fluidity and responsiveness that is characteristic of her work, a willingness to let the space itself inform the final form and impact of the piece. Her installations are not simply placed within a space; they become integral to it, transforming the architecture and inviting a reconsideration of how we interact with our surroundings.
Condorelli’s work often engages with the everyday, the mundane, and the overlooked. She draws inspiration from the industrial, the architectural, and the vernacular, finding beauty and significance in the often-ignored aspects of our built and natural environments. This is evident in her use of seemingly unassuming materials, elevating them to a position of artistic prominence through careful consideration of form, texture, and placement. The seemingly simple act of arranging, combining, and recontextualizing materials becomes a powerful act of artistic creation, one that challenges our preconceived notions of what constitutes art and its relationship to the world around us.
Céline Condorelli and Material Politics
A crucial element of Condorelli's practice is her exploration of "material politics." This isn't simply about the physical properties of materials but also their social, economic, and historical contexts. Her selection and manipulation of materials—the repurposing of industrial textiles, the integration of found objects, the careful consideration of textures and finishes—act as a commentary on the systems of production, consumption, and disposal that shape our world. She highlights the often-invisible labor and processes embedded within seemingly ordinary materials, revealing the complex web of relationships between humans, objects, and environments.
In *Corps à Corps*, this engagement with material politics is likely to be particularly evident. The exhibition's title itself suggests a close, almost intimate relationship between the body and the environment. The use of both indoor and outdoor spaces within the IMA further emphasizes this connection, blurring the boundaries between the built and the natural world. The materials chosen, their arrangement, and their interplay with the architecture of the IMA will undoubtedly contribute to a nuanced exploration of the power dynamics inherent in our relationship with the objects and spaces that surround us. The exhibition will likely invite viewers to consider the social and environmental implications of material choices, prompting reflection on the broader systems that govern our lives.
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