Cecile Wesolowski
Handmade bouquets of flowers from golden thermal rescue blanks cling to walls and floors, moving projections on a reflective glass mosaic and throw dazzling facets on the walls of the room. Complementary fine reminiscences of global pop culture melt into psychedelic videos. Renaissance meets the Japanese tradition, is expanded with geological phenomena and enriched with a pinch of current policy. This is the first time we have played these games, just like it should be on Planet POP.
Welcome to the multimedia-based world of French artist Cecile Wesolowski. An artistic world in which the viewer can be immersed in a fluctuating plasma, concentrated enriched with new experiences and surprising associations. In today's reality the world of production, information, illusion and virtuality work like a fluid, that flexibly inflates the spaces in between materiality and overcomes seemingly effortless previous distinctions and expands reality exponentially. Right now this liquidity of life is not only palpable and more important. Jean Baudrillard: The reality as it was invented in the race of the last centuries and which we have raised to the principle, it is on the way of the resolution.
Cécile Wesolowski Anthropocene from this perspective in a new way, exaggerates them and at the same time, excessively questions them. Following this understanding her immersive installations in the exhibition space are representations of reality loosing its limits. Thereby he works also inevitably lead to simulations of the current simulation in society.
With lots of imagination and humor, she, plays, inflatable bath toys or rhinestone accessories amazingly in scene, so that the formerly profane consumer objects suddenly suggest gloss, glamor and value. Or she combines tactile materials such as glass, plastic and folded metal with intangible light plays and projections of various kinds, like from headlights, LED light sources, movies or digital animations. In doing so the artist succeeds to lead the illusion of her productions back to the human hand and back to the tangible materiality in an enlightened manner. So she gives the viewer the chance to experience the ambivalence of Brave New World.
Cecile Wesolowski was born in 1982, in the Cross, France and was educated, among others, at the fine art school of the region of the Hauts de France (ERSEP) and the University of Venice at the class of Giorgio Agamben. She participated in solo and group exhibitions in Germany and abroad and lives in Potsdam.
Handmade bouquets of flowers from golden thermal rescue blankets cling to walls and floors, moving projections meet on reflective glass mosaics and throw dazzling facets on all walls of the room. Complementary fine reminiscences of global pop culture melt into psychedelic videos. Renaissance meets Japanese tradition, is expanded with geological phenomena and enriched with a pinch of current policy. Immediately the usual boundaries between culture, technology and media have been playfully blown up in these artworks, just like it should be on Planet POP.
Welcome to the multimedia-based world of French artist Cecile Wesolowski. An artistic world in which the viewer can immerse in a fluctuating plasma, concentrated enriched with new experiences and surprising associations. In today’s reality the worldwide production, information, illusion and virtuality work like a fluid, that flexibly inflows the spaces in between materiality and overcomes seemingly effortless previous distinctions and expands reality exponentially. Right now this liquidity of the life is not only palpable and relevant in monetary terms any more. Jean Baudrillard attested not without reason in his last book: The reality as it was invented in the course of the last centuries and which we have raised to the principle, it is on the way of the resolution.*
Cécile Wesolowski reacts to these new currents of living conditions by combining selected phenomena of this fluid, digital Anthropocene from her perspective in a new way, exaggerates them and at the same time, excessively questions them. Following this understanding her immersive installations in the exhibition space are representations of reality loosing its limits. Thereby her works also must inevitably lead to simulations of the current simulation in society.
With lots of imagination and humor, she, for example, sets empty liquor bottles, inflatable bath toys or rhinestone accessories amazingly in scene, so that the formerly profane consumer objects suddenly suggest gloss, glamour and value. Or she combines tactile materials such as glass, plastic and folded metal with intangible light plays and projections of various kinds, like from headlights, LED light sources, movies or digital animations. In doing so the artist succeeds to lead the illusion of her productions back into the human hand made and back into the tangible materiality in an enlightened manner. Therefore she gives the viewer the chance to experience the ambivalence of our Brave New World.
Cecile Wesolowski was born in 1982, in the Croix, France and was educated, among others, at the fine art school of the region of Les Hauts de France (ERSEP) and the University of Venice at the class of Giorgio Agamben. She participated in numerous solo and group exhibitions in Germany and abroad and lives and works in Potsdam.
Stephan Klee
