Anita Leisz at Norma Mangione Gallery, Turin
The materials that surround us are easily overlooked. The oors, walls and ceilings that demarcate the ro- oms we inhabit, the margins of our spaces, are made of marginal substances. Hiding behind nished sur- faces, they act out their support in silence. Everywhere, their surfaces show signs of abrasion. The trauma marks the process of time and as the mundane happens to be uncanny, familiarity can be unexpected.
Anita Leisz made work using materials commonly found in interior furnishing and construction. Concerned with the potential of the locus, the notion of building and the functionality of artmaking, her works negotiate the realm of the possible. In many ways, this is achieved by a radical transparency, making known what is immediately visible and how that relates to its making, the work highlights ways of being together or separated, inside or outside, opposite or right in the middle of it.The visibility accrues through transparency. Consequently, the work is, aligned with Rancière’s thought, political.
The work exposes political contingence by annexing, dividing and liberating space. The objects that popula- te her rooms, the forms that occupy her surfaces and the rhythms she applies, create a viewing experien- cing that corresponds with established ways of seeing things and, conversely, deviates from them. Like this, Anita Leisz establishes a speci c visibility of her works and the spaces in between. I read this as an attempt to re- concile sensuality with the pursuit to allocate meaning. In consideration of different levels of speed (of making and se- eing) and by appointing commonness and solitude, her works stand (or hang) equally autonomous and interdependent.
Eluding a singular de nition, her work ascribes to multiple qualities as its intended ef cacy occurs on site. Between their reduced shape and the suggestive sphere, the work’s idiosyncrasy unfolds. Hin- ting at a proposed functionality (eg. painting or sculpture), Anita Leisz obscures the potential of repre- sentation and, alternatively, abstraction. What is immediately seen, the slightest thing, marks the possible.
Leisz’ work continues to claim and reclaim different regions of existence as it shapes the spaces it inhabits. In doing so, the works showcase the idea of structure as a fragment and the fragment as a whole and, ultimately, as an ima- ge. In this sense, they behave like skeletons, scaffolding or frames but unlike such support structures, they are self-suf- cient, they are not lacking anything. Instead, they enforce a visibility that gaps language, meaning and identity.
In a Duchampian sense, her work produces an infrathin visibility not unlike the warmth of a seat, which has just been left, is infrathin. The slightest difference manages to simultaneously destabilize and generate, and so, possibility quali es truth.
at Norma Mangione Gallery, Turin
until 23 December 2017