The upcoming show, "Fruits of Labor" will open this Thursday, 8 February 2024, at Sainte Anne Gallery in Paris. This highly anticipated duo exhibition promises to be a captivating showcase and one not to be missed. Curated by Simon Gérard, the show will feature new works by Kenny Dunkan and Stefan Knauf. The exhibition aims to blur the lines between subject and object, delving into the nature of production processes and our relationship to them. The title cleverly alludes to the frequent perception of objects as mere "Fruits of Labor" or as a means to an end, prompting reflection on the meaning of these objects in our lives and the often overlooked production processes.
Since the industrial age, objects were made to be consumed - without any concern or inquiry as to how they were made. But how often do we examine the meaning of these objects in our life? How often do we think about how things are made? The notion of origin and the interconnectivity between is of utmost importance in the artist's works. Understanding the value thereof, in these objects and delegating meaning - allowing them to take on a life of their own.
I have long admired Sainte Anne Gallery for its unique and thought-provoking exhibitions, executed with immense care, beauty, and artistry. The gallery not only champions emerging talent that fuses innovative and sustainable ideas but also adds a fresh and interesting perspective to the arts discourse through interdisciplinary performances, art dinners, and ceremonial rituals. Situated in the Parisian Japanese neighborhood, Sainte Anne Gallery, founded in 2021 by Masha Novoselova and Bianca Lee Vasquez, acts as an international meeting point between contemporary art and collectible design. Each exhibition is carefully choreographed, serving as an independent universe that tells a story of alliances between the art world and the living world.
Kenny Dunkan, born in 1988 in Guadeloupe, consistently draws inspiration from the visual heritage of the Caribbean, exploring the traditions of carnivals and periods marked by social, cultural, and political role reversals. Through mediums such as video, performance, sculpture, and assemblage, Dunkan critically examines the French colonial legacy. Central to his approach is the use of his own body, which he skillfully presents across diverse mediums.
The artist holds an impressive amount of accolades ; having earned honors from the Ecole Nationale des Arts Décoratifs de Paris in 2014 and receiving the ADAGP Prize for Visual Arts at the 2015 Salon de Montrouge. In the years 2016 to 2017, he held a residency at the Villa Medici, Académie de France in Rome. Dunkan is affiliated with Galerie Les Filles du Calvaire in Paris.
When asked about his work approach in an interview with Coltesse, Dunkan replied :
"It's very intuitive, it's all about feeling and intuition, like my whole life in fact. I don't make the difference between my life and my work, because I feel like it wasn't a choice, I don't know how to do anything else.
Since I was a child, I have been dedicated to the thing, to creation.
I use my body a lot, as a medium, as a symbol, as an image, a political, gendered, racialised body. I use it to defend a statement, to be able to be who I want, to play with the expected codes, which I will divert. It is a question of emancipation too, sometimes I am dominated by an object, sometimes I am dominant as if to regain power. Dominant/dominated relationship at the sensuality, historical level, through consumption too. It's taking back the power over these solicitations. The sensuality of a body allows the integration of the organic also"
The artist specifically produced the “Kwi” series for “Fruits of Labor”. Dunkan used iconic design lamps from his personal collection and simply replaced some parts with calabashes, (a type of dried fruit commonly used as recipients or decorations in Guadeloupe). Through doing so, Dunkan critically dismantles the integrity of idolized industrial objects, by incorporating organic elements to them. The production process for Dunkan is a transformative experience whereby the artist foregrounds his inclination towards raw materials, luxury and the body as a vessel for storytelling. There is a constant underlying nod to the colonial past present in the artists body of work. The combination of vibrant inks, varnish and found objects promote an incredibly visceral effect. Dunkan employs intricate fabrication methods, challenging the boundaries of mediums to evoke pivotal discussions.
Stefan Knauf, born in 1990 in Germany and currently residing in Berlin, delves into ideological and colonial frameworks within his practice. Focusing on the intersection of the natural world, Knauf's multifaceted approach explores the histories of botany, migration, trade, science, and architecture, revealing contradictions in perceptions of nature. His recent research delves into global ecosystem restoration initiatives, crafting a political narrative surrounding human geoengineering. These initiatives, (undertaken collaboratively by governments and private enterprises), seek to recreate environments that have undergone prior damage.
This narrative underscores the persistent blurring of distinctions between the natural and artificial realms, influencing our understanding of the interplay between nature, technology, and their interconnectedness.
The artists educational background consists of the following; Made Labs Formafantasma & Fernando Laposse, Academy of Fine Arts, Sicily, (IT), Master of Arts, Speculative Design, Universität der Künste, Berlin, (DE), Master of Arts, Fine Arts, Universität der Künste, Berlin, (DE) and lastly, Bachelor of Arts, Columbia University, New York, (US).
His cactus series depicts the stereotypical plant shape reproduced entirely in metal, whilst the works sit on a bed of volcanic sand which covers the floor. The sculptures read almost comically, with their balloon like qualities. This was achieved by the steel being carefully inflated and coated with zinc through a hot-dip galvanization technique.
The upcoming exhibition seeks to challenge conventional perspectives on production processes and our relationship with objects. Dunkan ingeniously dismantles industrial objects, and Knauf's exploration of global ecosystem restoration initiatives, illustrate the artists' commitment to meaningful dialogue and reflection, inviting viewers to reconsider the origins and interconnectedness of objects, fostering a deeper understanding of their value and significance in our lives. The show will run from the 8th of February until 30 March 2024.
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