Galerie Gilla Lörcher

Contemporary Art

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Iris Musolf

Sex crime, beasts and tenderness

Installation Views

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Installation view: Iris Musolf at Galerie Gilla Loercher 2011

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Installation view: Iris Musolf at Galerie Gilla Loercher 2011

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Installation view: Iris Musolf at Galerie Gilla Loercher 2011

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Installation view: Iris Musolf at Galerie Gilla Loercher 2011

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Installation view: Iris Musolf at Galerie Gilla Loercher 2011

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Installation view: Iris Musolf at Galerie Gilla Loercher 2011

Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher

Works

Concrete\r<br>57 x 40 x 60 cm\r\n\r\nPhoto: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and Iris Musolf\r\n

Shake a little Ass, 2011

Concrete
57 x 40 x 60 cm Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and Iris Musolf

Concrete\r<br>30 x 18 x 23 cm\r\n\r\nPhoto: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and Iris Musolf

Storming Stella, 2011

Concrete
30 x 18 x 23 cm Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and Iris Musolf

Concrete\r<br>50 x 36 x 44 cm\r\n\r\nPhoto: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and Iris Musolf\r\n

Schaf Dolly, 2011

Concrete
50 x 36 x 44 cm Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and Iris Musolf

Concrete\r<br>52 x 40 x 36 cm\r\n\r\nPhoto: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and Iris Musolf\r\n

Love Pig, 2011

Concrete
52 x 40 x 36 cm Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and Iris Musolf

Nail polish, mascara, lipstick on paper\r<br>29,5 x 42 cm\r\n\r\nPhoto: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and the artist

Ultra correction, 2006

Nail polish, mascara, lipstick on paper
29,5 x 42 cm Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and the artist

Make-up, nail polish, mascara, lipstick on paper\r<br>29,5 x 42 cm\r\n\r\nPhoto: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and the artist

Envie de réléver votre éclat?, 2006

Make-up, nail polish, mascara, lipstick on paper
29,5 x 42 cm Photo: Dieter Düvelmeyer, courtesy Galerie Gilla Loercher and the artist

Video <br>Video loop, 07:17 min, Format 4:3, Mini DV, 2011.\n(Presentation on flat screen on the wall, format 16: 9, 17 to 19 inches)\nEdition 10 + 2 AE\n

Fremdes Sagen, 2011

Video
Video loop, 07:17 min, Format 4:3, Mini DV, 2011. (Presentation on flat screen on the wall, format 16: 9, 17 to 19 inches) Edition 10 + 2 AE

Press Release

/
Galerie Gilla Loercher is pleased to present the first solo exhibition by the artist Iris Musolf at the gallery.
A catalogue accompanies the exhibition. With a text by art historian and curator Jean-Christophe Ammann. Edition Galerie Gilla Lörcher, 2011.

In the exhibition “Sex crime, beasts and tenderness”, Iris Musolf (born 1980) shows a number of objects that were created during her exploration of the subject of “sex dolls”. On closer inspection, however, any lightness associated with an inflatable object quickly disappears. The abundance of product variants that the sex industry offers to its target group in order to experience a relief of sexual instinct can be very irritating. Musolf forces us to think about the role and function of the object as an apparently easily consumable surface. It questions supposedly private, sexual fantasies and the effects of relationships between people and objects on power structures in our society.
The exhibition is complemented by a video work that confronts us with user patterns obtained via search engines and numerous prints using the impression technique that investigate beauty as a construct and the concept of beauty of our time.

Excerpt of the catalog text of Jean-Christophe Ammann about Iris Musolf's work:
It is the 7th of August 2011, Iris Musolf talks about things that fascinate and disgust her: Media of all kinds which predetermine how life should be, for example, “Second Life”, the curse of a projection, which undermines and replaces phantasmagorical one’s own reality, the smoothness of beauty without opposition, smooth polished beautiful bodies, contradiction, which are nullified in the two-dimensionality and availability of the digital world. Iris Musolf knows about the power of temptation. An entire societal body is her subject. To fight against this, an ideological position is to some extent required. Knowing from her own experience, Iris Musolf slips into a staging of indifference, the rhetorical difference, the curse of the exclusiveness of the imaginary body. (...)