A Singular Form' presents everyday and art objects that explore uses and meanings beyond their conventional assignments. The exhibition examines how the material and compositional form of these objects challenge notions of intention, authorship, and function.
The exhibition 'A Singular Form' brings together a collection of everyday and art objects that, through their inherent qualities and presentation, probe potential uses and meanings that extend beyond their typical assignments. Within the Secession space, these objects propose a particular approach or use not only through their materiality and compositional form but also by liberating themselves from such designations, thereby undermining common ideas about intention, authorship, purpose, and function.
A critical engagement with the form and perceived meaning of artistic and non-artistic objects is a characteristic yet abstract concern. 'A Singular Form' illustrates this through a focus on sculptural form and the uniqueness of shape, while simultaneously shifting the emphasis from the sculptural to the functional through the totality of the exhibited objects. This altered perspective reveals how the material structures of the objects initiate a mapping of relationships within which the object can behave in expected as well as surprising ways. Two questions have driven this examination: How concrete or specific can an object be for mediation? And to what extent can it be abstracted and generalized? 'A Singular Form' seeks to answer these questions with the diversity and versatility of the featured items, including a reconstruction of a Viking ship's heart from Peter Madsen, photographic contact sheets from Asger Jorns and Gérard Franceschi’s project '10,000 Years of Nordic Folk Art', a Venetian 'Fórcola', a video projection by Hilary Lloyd, modular sculptures by Bruno Munari and Dustin Ericksen, and various other sculptural works and structures.