Form Matters, Matter Forms: From Readymade to Product Fetish
Group Exhibition
Kunstmuseum Winterthur
Through November 17, 2024

Starting in the 1960s, consumer products and advertising begin to occupy an increasingly prominent position in art. What had begun as a part of the accumulations of Nouveau Réalisme became the characteristic feature of Pop Art: the transformation of everyday objects into works of art. This strategy stems from the Readymades that Marcel Duchamp began producing in 1913. Although it was still a marginal phenomenon at that time, in emerging consumerism the process was successfully copied and proved to be suitable for the mass market.

La Pista 500
Group Exhibition
Pinacoteca Agnelli, Turin
Through April 30, 2026

Pinacoteca Agnelli’s new programme expands outside the spaces of the museum through an ambitious outdoor art project which transforms a former test track – an iconic Turinese site into an exhibition trail featuring a series of artistic and environmental installations that interact with the surrounding architecture and landscape. The historical FIAT test track and access ramp on the roof of Lingotto opens to the public through an art project in dialogue with a new hanging garden created by FIAT.

Sylvie Fleury
Égoïste
February 10–March 23, 2024
Berlin

ÉGOÏSTE. Thirteen bright neon works that read the French word are mounted at different heights on the walls of the gallery’s storefront exhibition space. The sunken and high-ceilinged room with its large display windows allows visitors to view Sylvie Fleury’s installation from the street.

Sylvie Fleury
S.F.
September 22–November 4, 2023
London

Sylvie Fleury’s practice produces enticing works which let art, consumerism and life collide. Speaking to contemporary conditions, her sculptures, paintings, neon pieces and videos continue to defy expectations and definitions and remain plural. Monika Sprüth and Philomene Magers are pleased to announce an extensive exhibition at Sprüth Magers, London, celebrating the gallery’s longstanding relationship with the artist and providing an insight into her spectacular and varied body of work spanning three decades. Transforming all of the gallery’s spaces, Fleury uses the strategies of the fashion, beauty and advertising industries to challenge paradigms of Western art history, its male modernist canon as well as examine the art world’s complicity with the dynamics of consumerism. Alongside several of Fleury’s iconic pieces, new works produced especially for the show will be on display.

Mondi Possibili
Henni Alftan, John Baldessari, Cao Fei, Thomas Demand, Thea Djordjadze, Lucy Dodd, Robert Elfgen, Peter Fischli David Weiss, Sylvie Fleury, Jenny Holzer, Donald Judd, Karen Kilimnik, Barbara Kruger, Louise Lawler, David Ostrowski, Michail Pirgelis, Sterling Ruby, Thomas Scheibitz, Andreas Schulze, Hyun-Sook Song, Robert Therrien, Rosemarie Trockel, Kaari Upson, Andrea Zittel
August 31–September 14, 2023
Seoul

Mondi Possibili highlights the interplay between art and design and explores the many ways in which experimentation with material, technique and scale can reveal the hidden narratives, quiet drama and humor in the everyday items that furnish our lives as well as our imaginations. Connected through a paradigm of the possible, all artworks on show examine familiar objects – citing, celebrating, adapting or appropriating them – offering surprising, playful or unsettling approaches that open up a range of “possible worlds.” This will be the fourth edition of Sprüth Magers’ Mondi Possibili – first titled by Pasquale Leccese – showcasing significant themes in the selected artists’ works as well as the gallery’s longstanding heritage. Its three previous iterations were presented in 1989, 2006 and 2007 in Cologne, where the gallery’s history is firmly rooted, and art and design have intersected for many decades.

Sylvie Fleury
December 17, 2003–January 31, 2004
Munich

Fleury explores fetishism and power dynamics in various socio-economic contexts. Golden car tyres (glazed ceramics) prepared as fountains appear to be products of the excessive creative ambitions of motor sport fanatics who transform car parts into household objects in order to surround themselves permanently with the object of their fetish, the car.
Fetishism is based on shifts in values and the questioning of traditional power relations; it is private and is usually lived out in secret. Fleury makes it visible where one would not have suspected it.

Sylvie Fleury
Formula One Dress for Hugo Boss
September 10–October 2, 1999
Munich

Some art pieces tend somewhat to summarize the main ingredients of an artist's work. Sylvie Fleury's 'Formula One Dress for Hugo Boss' certainly wraps together many topica visited and discussed by the artist through much of her production that count as a seminal contribution to todays contemporary art forum these past years. The Dress, as an art object and as a dress, is emblematic of such investigations by Sylvie Fleury which focus among various fields on art as wrapping device, art as prosthesis, art as customizing processes, art as vehicle on cruise control to the Unknown and further on, recalls the questionning of gender identity and emblems by means of sexual accessorizing and fetishism and other such themes displayed in her works.

Sylvie Fleury
Spring
March 21–April 19, 1997
Cologne

Sylvie Fleury
October 21–December 2, 1994
Cologne

Sylvie Fleury
Vital Perfection
October 25–December 31, 1991
Bonn