Ellen Sandor, Chris Kemp, Mike Siegel, and Chris Day
Duratrans, Kodalth, Plexiglas
Claudia Hart: Digital Baroque, Kasia Kay Projects Gallery, Chicago, November 21–December 27, 2008
Aqua Art Miami, Kasia Kay Projects Gallery, Chicago, December 3–8, 2008, Miami, FL
Future Perfect plays with multiple references to the Utopian Modernism of the past, established by the Bauhaus in Germany and Chicago, referring to a time when technology aspired toward an egalitarian society, far removed from the contemporary reality of rapid technological innovation that seems to stoke endless fashion-based marketing.
In this scene, a virtual model of Kiki of Montparnasse, who was a painter, performer and muse of Man Ray and Brassaï, 20th century photographers and technological pioneers, reclines upon Mies van der Rohe's Barcelona daybed in the corner of the Farnsworth House, juxtaposed with a self-portrait by Ilse Bing.
Conceptually inspired by the black-and-white distortions of André Kertész, including the famous pose in "Satiric Dancer" in which a woman twists like a human pretzel, this Kiki is meant to be both beauty and beast, post-Modern and perhaps post-Human, in reflection of the chaotic times in which we live.
While Man Ray photographed glamorous actresses like Ava Gardner when he lived in Hollywood, Kiki was the icon of his masterworks. It can easily be said that she truly was the first media star, and a collaborator of the images they created together based on her vibrant persona. Photographs by Man Ray, Brassaï, André Kertész, Ilse Bing and Imogen Cunningham from the Richard and Ellen Sandor Family Collection were used for background research for this project, along with a photograph by Bill Hedrich of the Farnsworth House, designed by Ludwig Mies van der Rohe.