In ‘Sante Par Aqua’, Berlin-based artist Anna Uddenberg sheds light on exploitative narratives: hijacking commercial concepts and contorting them through her tactile sculptures.
Her most recent work has taken non-figurative form: continuing her theme of unrealistic ideals and moving them from the female body to architectural spaces. Sharing an aesthetic thread with her past projects, these pieces reconfigure familiar elements into furniture-like sculptures whose functions remain unknown. These plush, material covered thrones act as proxies for architecture; offering spaces of luxury that are at once familiar but dislocating, they are seats that you cannot sit on. When this collection was exhibited at Kraupa-Tuskany Zeidler, the three sculptures sat alone in a room — the light beneath making them appear as if floating. Around one of the three pieces stood a four-walled veil of water: granting it privacy through eternal hours of man-made rain. The pieces, like much of Uddenerg’s oeuvre, appear alien. Small elements remain familiar; shoes, bag straps, material — but their assemblage marks them as disconcertingly foreign.