Those who experience the oeuvre of Ceal Floyer ( 1968), who has lived for many years in Berlin, for the first time may initially be surprised, irritated, and ultimately delighted. She plays with conventional patterns of perception in a highly sophisticated way, piercing through them with a keen sense of irony and the simplest of means. Her works are productive irritations whose inherent logic prompts an open process of seeing and thinking. With her work Light Switch (1992) she hoodwinks us by showing us the photograph of a light switch at a place in the room where one might be located. Light illusions of deception and disappointment that also turn up in later works such as Overhead Projection (2006). In this case, a light bulb seems to be suspended from the ceiling of the space that in reality is lying on the projection stage of an overhead projector. This is the first publication to systematically document sixty-three works selected by the artist herself. Mark Godfrey and Sergio Edelsztein-two established authorities on Ceal Floyer's art-and her fellow artist and friend Tacita Dean examine her oeuvre and inspire us to reflect on it.

Exhibitions: Kunstmuseum Bonn, 29.10.15 - 10.1.2016 Aargauer Kunsthaus, Aarau 19.1. - 10.4.2016

Those who experience the oeuvre of Ceal Floyer (Born 1968), who has lived for many years in Berlin, for the first time may initially be surprised, irritated, and ultimately delighted. She plays with conventional patterns of perception in a highly sophisticated way, piercing through them with a keen sense of irony and the simplest of means. Her works are productive irritations whose inherent logic prompts an open process of seeing and thinking. With her work Light Switch (1992) she hoodwinks us by showing us the photograph of a light switch at a place in the room where one might be located. Light illusions of deception and disappointment that also turn up in later works such as Overhead Projection (2006). In this case, a light bulb seems to be suspended from the ceiling of the space that in reality is lying on the projection stage of an overhead projector. This is the first publication to systematically document sixty-three works selected by the artist herself. Mark Godfrey and Sergio Edelsztein-two established authorities on Ceal Floyer's art-and her fellow artist and friend Tacita Dean examine her oeuvre and inspire us to reflect on it.

Exhibitions: Kunstmuseum Bonn, 29.10.15 - 10.10.2016 Aargauer Kunsthaus, Aarau 19.1. - end of April 2016

Those who experience the oeuvre of Ceal Floyer (*1968), who has lived for many years in Berlin, for the first time may initially be surprised, irritated, and ultimately delighted. She plays with conventional patterns of perception in a highly sophisticated way, piercing through them with a keen sense of irony and the simplest of means. Her works are productive irritations whose inherent logic prompts an open process of seeing and thinking. With her work Light Switch (1992) she hoodwinks us by showing us the photograph of a light switch at a place in the room where one might be located. Light illusions of deception and disappointment that also turn up in later works such as Overhead Projection (2006). In this case, a light bulb seems to be suspended from the ceiling of the space that in reality is lying on the projection stage of an overhead projector. This is the first publication to systematically document sixty-three works selected by the artist herself. Mark Godfrey and Sergio Edelsztein-two established authorities on Ceal Floyer's art-and her fellow artist and friend Tacita Dean examine her oeuvre and inspire us to reflect on it.Exhibitions: Kunstmuseum Bonn, 29.10.15 - 10.1.2016 | Aargauer Kunsthaus, Aarau 19.1. - 10.4.2016

Wer dem Werk der seit vielen Jahren in Berlin lebenden Ceal Floyer (*1968) das erste Mal begegnet, mag zunächst verwundert-irritiert, schließlich begeistert sein. Äußerst durchdacht spielt die Künstlerin mit gewohnten Wahrnehmungsmustern, durchbricht sie mit feinster Ironie und einfachsten Mitteln. Ihre Werke sind produktive Irritationen, die mit eigener Logik einen offenen Prozess des Sehens und Denkens motivieren. So führt sie uns bereits mit der Arbeit Light Switch (1992) buchstäblich hinters Licht und zeigt an einer Stelle des Raumes, an der sich ein Lichtschalter befinden könnte, das Lichtbild eines Lichtschalters. Lichtillusionen von Täuschung und Enttäuschung, die sich auch in späteren Werken wie der Overhead Projection (2006) wiederfinden. Hier scheint eine Glühbirne von der Decke des Raumes zu hängen, die in Wirklichkeit auf der Fläche des aufgestellten Overheadprojektors liegt. Erstmals werden in dieser Publikation 63 von Ceal Floyer selbst ausgewählte Werke systematisch dokumentiert. Mark Godfrey und Sergio Edelsztein, zwei ausgewiesene Kenner ihrer Kunst, sowie Tacita Dean als Künstlerkollegin und Freundin setzen sich mit ihrem Werk auseinander und regen uns zum Nachdenken an.
 



Ausstellungen: Kunstmuseum Bonn, 29.10.15 - 10.1.2016 | Aargauer Kunsthaus, Aarau 30.1. - 10.4.2016