• Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
  • Artist:, Exhibition:Fond Illusions
Kathryn Andrews – Sophie Calle – Leslie Hewitt – Bharti Kher – Alicja Kwade – B. Ingrid Olson – Cornelia Parker – Gala Porras-Kim – Tatiana Trouvé Perrotin New York is pleased to present “Fond Illusions”, a group exhibition which joins emerging and leading artists from across the globe. In separate contexts, the participating artists have been recognized for their command of unconventional materials that bridge the fundamental qualities of 2D and 3D artworks. The results are abstract and cohesive, physical and psychological, sculptural and, occasionally, otherworldly. Fond Illusions supplants familiar conceptual pathways that impress vision to the body. To catalog what these impressions might be, consider a summary of recent work: how photo-montage has often adopted both mnemonic and sculptural qualities in Leslie Hewitt; or how entangled missives became crystalline curios in Sophie Calle; how ancient fossils denoted futuristic colloquia unintelligible to the uninitiated in Gala Poras-Kim; how infra-thin traces of human touch have become data points on networks of familiar objects in Tatiana Trouvé; how mobile constellations gathered from the commodity dusts of everyday life formed surreal cloudbursts in Cornelia Parker; how Bharti Kher morphs traditional objects into symbols of appropriation and globalization; how perceptually elastic space is shifted, leaving an ambiguous sense of subjecthood in B. Ingrid Olson; how visual structures have become defamiliarized forms of domestic architecture in Alicja Kwade; and, finally, how found objects and production enact ephemeral consumer rituals in the work of Kathryn Andrews. Instead of familiar formulas for making contemporary art, we are left with the impression of inner workings belonging to each artist’s mind.