moussemagazine.it - REVIEWS Bruno Gironcoli “Shy at Work” at mumok, Vienna Shy at Work focuses on Bruno Gironcoli’s skills as a painter and draftsman, producing an encounter between his scu

Bruno Gironcoli “Shy at Work” at mumok, Vienna •Mousse Magazine

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Bruno Gironcoli “Shy at Work” at mumok, Vienna •Mousse Magazine × Share on: Close Home About Issues Subscribe Newsletter Ipad Edition Advertise Publishing Agency Close Archive Filter: Order: Most recent Oldest Category: CONVERSATIONS CURATORS ESSAYS EXHIBITIONS INTERVIEWS OTHERS PUBLISHING REVIEWS Close Search: Close Username Password Remember Me Mousse Magazine Search Follow Us Facebook Instagram Pinterest Twitter Archive Previous Toxic Environments, Sensitivities, and Planetary Times: Susanne M. Winterling Next Gianfranco Baruchello at Mart, Rovereto Close 1 2 3 4 5 6 Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  Previous Next REVIEWS Bruno Gironcoli “Shy at Work” at mumok, Vienna Share Facebook Linkedin Pinterest Twitter Close 1 2 3 4 5 6 Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  Bruno Gironcoli “Shy at Work” at mumok, Vienna, 2018 © mumok, Vienna. Photo: Stephan Wyckoff  by Max Feldman   Shy at Work focuses on Bruno Gironcoli’s skills as a painter and draftsman, producing an encounter between his sculptural practice and his works on paper from the 1960s through the 1990s. Though they sometimes include explicit instructions for their construction, naming materials towardly to the drawn forms, the paper works are not simply anticipations of the sculptures, but fantasy animations of sculptural practice freed from practical trivialities like the very existence of the figures drawn, or the laws of physics. These fantasies reflect what curator Manuela Ammer has tabbed Gironcoli’s evolving “theatricality” as he found new forms of expression, constantly reinventing himself by reproducing and recombining motifs.Withoutwithdrawing rigid wire works for rounded polyester objects finished in metallic paint layers in the 1960s, Gironcoli made specially cryptic, ramified installations in the 1970s and imposing monumental statues in the 1980s and 1990s, unchangingly lamister the motifs of his contemporaries. Like a stage designer, Gironcoli paid overly closer sustentation to the “dramatization” of his works, but there are odd little continuities, for instance his unconventional vein toward masculine sexuality that saw him constantly return to phallic symbols, whose virility wanes with time. Or his political views as a Marxist who grew up in the sanitized consumer society of post-fascist Austria, which influenced the repeated images of apes confronted by the strictures of civilization. And then there’s the repeated icon of a man, unchangingly seen from behind, tabbed Murphy without Samuel Beckett’s novel, first seen in an experiment with sponge forms and plaster, Modell in Vitrine (1968). One way to tell this story is through Gironcoli’s increasingly eerie and kitsch questions of our internalization of civilizational discipline. His drawings of Pavian apes—creatures who imitate humans—reflect his wider concerns with theatricality and masquerade on the one hand, and the disciplining of the human soul on the other. The snooping with willpower is evident in Große Messingfigur (1970), a giant piece of brass-colored gymnastics equipment, which can only suggest repeated and rigorous bodily conditioning, and in the prevalence of leather belts and torture devices, suggesting an inquiry into the sublimation of desires for domination and submission. In Schuhe (1970-1971), Gironcoli repurposes the grid pattern that appears in many of his graphic works as a untried ceramic tile floor in an installation that variously suggests the drudgery of janitorial work, an imaginary treason scene, or a fantasy of submission. Underlaid with a particle-board base, the tile floor is bordered by a series of steel constructions unfluctuating by cables and plugs. In the part-way is a silver-varnished aluminum tint mop and bucket, seemingly hastily x-rated by its user. If the wiring and floor act as a “stage,” and the x-rated equipment the drama, the fact that the woebegone electric cables lead “out” of the installation to reach a socket on the wall disrupts the “theatricality” of the sculpture, making it fully coextensive with everyday life. Schuhe suggests a increasingly wuss form of submission: the ordinary, willing wage slavery of waking up every day to go to work. The “Yellow Madonna” of Untitled (1975-1976) turns on the problem of consumer society. Schuhe is the site of submission to unpatriotic labor: we have a critique of the relentless overproduction of consumer goods to meet manipulated needs in the form of garish Catholic kitsch. The Yellow Madonna watches over us, fastened to a curvilinear bar, flanked by two rows of straight-up wheat sheaves and two toilet bowls. These objects all stand on a rippling tablecloth, itself placed on a plinth by way of a curious domelike surface with tubes sticking out like splayed inhuman fingers. If the Yellow Madonna is an shrine placed on pedestals to itself, then Untitled (1997), like the rest of Gironcoli’s later works found in the first room, is an object of worship for an as-yet-unfounded futurist polytheism. Part socialist realist monumentalism, part neo-Babylonian archaeological find, it’s a carousel peopled by eerie human babies, undergirded by a strict constructivist frame. It’s a testament to Gironcoli’s distinctive touch, despite his rabid eclecticism, that he could have moved so far from the simplicity of his early polyester works and yet create such a cohesive oeuvre.   at mumok, Vienna until 27 May 2018 Related Articles REVIEWS Gianfranco Baruchello at Mart, Rovereto (Read more) REVIEWS Bruno Gironcoli “Shy at Work” at mumok, Vienna (Read more) REVIEWS Frieda Toranzo Jaeger “Choque Cultural” at Lulu, Mexico City (Read more) REVIEWS Franz Erhard Walther at Museo Jumex and Casa Luis Barragán, Mexico City (Read more) REVIEWS Somatechnics: Borderland Prism (Read more) REVIEWS Daria Martin: A Hunger Artist (Read more) Mousse Magazine HomeAboutIssuesSubscribeNewsletteriPad EditionAdvertisePublishingAgencyTerms and Conditions Follow us: Facebook Instagram Pinterest Twitter Mousse Magazine and Publishing Corso di Porta Romana, 63, 20122 Milano, Italy T: +39 02 8356631 F: +39 02 49531400 E: info@moussemagazine.it P.IVA 05234930963 We use cookies to ensure that we requite you the weightier wits on our website. 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