Kirsten Pieroth Taste of Great

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June 28 – July 31,  2012

Galleria Franco Noero – Piazza Santa Giulia, 0/F – Torino

The show takes its inspiration from a series of highly decorated eggs, known as the Imperial eggs, that were produced for the Russian tsar from 1885 until the fall of the Russian monarchy in 1917. Crafted by  Russian  goldsmith  Peter  Carl  Fabergé  and  his  workshops,  these  eggs  commemorated  and worshipped the history of the Russian empire as well as technological achievements of the time, such as  the  Trans-Siberian  Railway.  Inverting  the  clichés  of  highly  refined  craftmanship,  overwhelming luxury and perfection with which the House of Fabergé became synonymous, Pieroth handcrafts contemporary versions of „commemorative“ eggs. These combine a lack of symmetry, the use of poor materials such as earth and dirt, with sculptural renderings on the triviality of everyday life and the promises of the merits of modern day achievements. They can be seen as hommages to the modern day amateur, who finds himself caught in the workings of capitalist societies.In the series  of  “Currency  Eggs“ on the fourth floor, Pieroth imitates Fabergé?s  frequent use of miniature portrait painting by using the face side of contemporary,  low-value coins as templates for coarse hand-coloured renderings of George Washington and Queen Elizabeth II, for example, which are inserted into the rough earthy surface of the eggs.

Pieroth?s  interest  in  the  amateurish  is  also visible  in  Colour  Studies,  2012,  a  series  of  prints  of anonymous  amateur  egg  drawings  found  on the internet  which,  printed on accounting  paper  and coloured by the artist, reference the meticulous accounts which Fabergé?s workers devised for almost every item produced by the firm. The seemingly celebratory momentum of the four series of exclusive and precious looking drinking glasses presented on the sixth and most classical level of the gallery, question the identities and qualities of rich and poor, hierarchies, individuality and the uniformity of groups.

The transformation of the building?s various levels into a class structure model becomes most apparent by the diversity between the first and last floor. Relativity Egg, 2012, an out of scale rough casted plaster egg sitting awkwardly next to an egg-scale, plays with ideas of normation and evaluation. The topical mud eggs on the top floor, however, presented on wooden transport boxes of different heights, gather around the central mantelpiece like an offering of gifts for the 21st century with almost regal significance. All refer to current issues of contemporary society, from man?s expansionist urge through to work, the desire for evasion and freedom from the constraints of the modern age.

While  Google  Earth  Egg,  2012,  which  rests  on  a  piece  of  contemporary  Roman  road,  ironically underpins the human thrive for mapping, Space Shuttle Egg, 2012 focuses on the ideas of expansion. Twentyfourseven Egg, 2012 references the modern day age of continuous operation and constant flexibility and performativity, rendered into a heavy, stone-like, grey painted mud egg, which lays exhaustedly on a piece of tissue and stone. The Great Illusionist Egg, 2012 mimicks the looks of one of Harry Houdini?s famous rope tricks, suggesting the idea of freedom from boundaries and escapism.

Kirsten Pieroth (Offenbach  a.M., Germany, 1970) lives and works in Berlin. Her most recent solo exhibitions  include: Office Baroque,  Antwerp,  2012;  Supportico  Lopez,  Berlin,  2011;  ?Perspectives  172?,  Contemporary  Art Museum,  Houston  2010; Objectif  Exhibitions,  Antwerp,  2009;  Passengers,  CCA  Wattis  Institute,  San  Francisco,  2008;  Klosterfelde,  Berlin,  2007; Secession, Wien 2006. Group exhibitions include: ?Variationen über ein Thema?, Studio International, Leipzig, 2012; ?Untitled?,12th  Istanbul  Biennial,  Istanbul,  2011;  ?Power  to the People?,  ACCA  Australian  Centre  for Contemporary  Art, Melbourne;2011; ?Five Easy Pieces?,  Galleria  Franco  Noero, Torino,  2010; ?Little Theatre  of Gestures?,  Museum  für Gegenwartskunst

Basel / Malmö Konsthall, 2009; ?Learn To Read?, Tate Modern, London, 2007.

Image above: Kirsten Pieroth, Colour Studies, 2012, hand-coloured prints of amateur egg drawings on accounting paper each, 29,7 x 21 cm

(detail)

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Kirsten Pieroth

Discount Egg, 2012

earth, enamel paint, cardboard, crate

egg: 9,1 x 8 cm and 7,8 x 8 cm

crate: 32,5 x 51 x 42 cm

(detail)

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Kirsten Pieroth

Elizabeth II Penny Egg, 2012

plaster, coin, cardboard, crate

2 parts

egg: 9 x 6,7 cm

crate: 61,5 x 27 x 26 cm

(detail)

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Kirsten Pieroth

First Hen Egg (after Fabergé), 2012

chicken egg, enamel paint, cardboard 2 parts

cardboard: 19 x 24,3 cm

plinth: 66 x 52 x 36 cm

(detail)

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Kirsten Pieroth

Google Earth Egg, 2012

earth, enamel paint, pushpin, piece of asphalt from a Roman road, cardboard, crate

2 parts

egg: 9,2 x 14,5 cm

crate: 14 x 61 x 49 cm

(detail)

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Kirsten Pieroth

The Great Illusionist Egg (after Houdini),2012

earth, string, cardboard, crate

egg: 14 x 8,6 cm

crate: 81,5 x 29 x 25 cm

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Kirsten Pieroth

Installation views

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Kirsten Pieroth

Installation views

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Kirsten Pieroth

Installation views

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Kirsten Pieroth

Installation views

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Kirsten Pieroth

Installation views

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Kirsten Pieroth

Installation views