西尔维·弗勒里
실비 플러
סילבי פלרי
シルヴィ·フルーリー
Сильви Флери

It Might as Well Rain Until September

source: artspy

（Sylvie Fleury）个展“It Might As Well Rain Until September”近日在纽约Salon 94画廊开幕。西尔维·夫拉里（Sylvie Fleury）以其对奢侈品、消费身份、地位象征以及受到追捧的时尚与美容文化进行了思考的作品而闻名。对消费社会与媒体信息的功效的探索是其著名作品的标志物。西尔维·夫拉里（Sylvie Fleury）为这场展览带来了一组名为“Go Bust”的绘画新作。与西尔维·夫拉里（Sylvie Fleury）最为人所知的那些作品相似，这些画作通常直接引用并且再情境化了一些白人男性艺术家的著名标志性作品。这组新作重新演绎了欧普艺术大师维克托·瓦萨雷利（Victor Vasarely）的“Gordes”系列（使用了几何失真图形在平面上创作球状形态的错觉）以及达明安·赫斯特的点画。画作中的图像采用了单一和平面的男性形式，接着被加倍处理以被解读为胸部——这种圆形的女性形式被假定为是原型的“点”。此外展览还展出了一些霓虹灯作品，它们传达的信息全都来自美容业。诸如“Be Amazing”及“Moisturizing is the Answer”等商业口号该画廊添加了一些乐观、美好的味道。西尔维·夫拉里（Sylvie Fleury）将以女性为目标的广告重新利用成了现成物品，传播了视觉文化中根本的观赏哲学。
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source: salon94

Fleury is known for work that considers luxury objects, consumer identity, status symbols, and the fetishized cultures of fashion and beauty. The investigation into the virtues of consumer society and media messages is a trademark of the artist’s best-known pieces. To foreground her first exhibition at Salon 94, Fleury will install a group of new paintings called Go Bust that, like her best known pieces, often directly quote and re-contextualize the celebrated signature works of white male artists. Sylvie’s new pieces riff on both the Op-Art icon Victor Vasarely’s Gordes series, which famously uses geometric distortion to create the illusion of bulbous forms on a flat surface, as well as Damien Hirst’s colorful Spot paintings. The imagery in Fleury’s paintings takes the single and flat masculine forms and doubles them to be read as breasts, rotund female forms posited as the archetypal “dot.”

Fleury’s installations hinge on the relationship between seduction and superficiality, art and advertising, conceptualism and consumerism. Fleury’s oeuvre is a decidedly feminist one, often subverting the traditional male modernist art practices with her own use of cast bronze sculpture and abstract painting. In a Daniel Buren-like gesture, Fleury paints the space with floor-to-ceiling vertical stripes that periodically contain oval-shaped blanks—or feminine openings. The stripes fit into Fleury’s “girlie” pink-purple palette, a strategy she uses to provocatively mark major art historical movements such as minimalism and conceptualism with the slight sparkle of a fashion trend.

Also featured are neon signs that appropriate messages from the beauty industry. Commercial slogans like “Be Amazing” and “Moisturizing is the Answer” cast a rosy hue on the gallery. Fleury re-uses retail mottos targeted to women as ready-mades that radiate ultimate philosophies for viewing in a visual culture. An oversized and super shiny razor-blade leans against the wall like a reflective John McCracken plank, a minimalist object of material fetish and surface sheen, in this case with a potentially fatal edge. A vertical wall piece of metal boxes parrots the Untitled stacks of Donald Judd, though Fleury’s indelicate version includes saggy, drippy, brightly colored turds that ooze out of and over each part. Marking these recognizable objects with ambiguous traces of commerce and art historical content, she uses the work like a body, susceptible to styles, desires, and surface projections.

Sylvie Fleury was born in Geneva in 1961, where she currently lives and works. She has been exhibiting her work regularly since 1991. Recently, she has been the subject of one-person shows at Centre de Arte Contemporaneo in Malaga, Spain in 2011; Musée d’Art Contemporain de Genéve in Geneva, Switzerland in 2008; and Kunsthalle Wien in Vienna in 2006.
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source: electronfestivalch

Les œuvres de Sylvie Fleury s’appuient sur l’exposition d’objets, généralement de consommation hyper féminisés, faisant référence au luxe et a priori investis dans la société d’une forte valeur esthétique et d’un attachement sentimental, voire sexuel ou fétichiste : des photographies de chaussures à talon, l’agrandissement de couvertures d’un magazine Playgirl, des bâtons de rouges à lèvres géants, etc. Ces éléments soulignent les processus d’esthétisation en jeu, de fascination. Pour Markus Brüderlin, il est pertinent de s’interroger sur l’engagement de son œuvre car bien que Sylvie Fleury aime à se produire parfois comme une « femme de luxe », elle ne prétend être ni une victime, ni une femme-objet. Au contraire, elle se présente comme « sujet » de désir, communiquant ainsi à son œuvre « des énergies émancipatrices » et prenant « le shopping et le maquillage comme des actes de plaisir », selon les principes d’un « néo-féminisme ». A travers les paradigmes du « new age », son travail explore régulièrement la question de l’industrie du bien-être.
Retrouvez les oeuvres de Sylvie Fleury dans l’exposition Chill Out. Expérimentations sonores, paysages hallucinés et partage de l’atmosphère du 28 février au 31 mars au Commun.