Sofi Zezmer (October 27, 2014 – November 21, 2014)
Sofi Żezmer’s images and objects offer a wealth of impressions for the viewer. One frequently has to look more closely in order to take in every detail. Yet however much one engrosses oneself in what is visible and tangible, at the end of the day this is only the bait, intended to entice us beneath the wide range of surfaces presented. It is a reflection, using artistic means, on how we deal with things and the meanings we attribute to them. The artist disengages the unusual combinations of the diverse range of objects, or parts of objects, from their original meanings and functional contexts. The meaning of an object is also imbued through the act of naming it. And because we speak different languages and follow culturally diverse customs and rituals, we give the very same things different names and meanings, which also trigger contradictory associations.This is an experience that has had an impact on Sofi Żezmer in a biographical sense. “It is the physical presence of things and their function as transporters of information that interests me: the process of ‘in-formation’ between abstraction and concrete form.”
Those who explore the use of things automatically explore the use of language and with it the relationship between the object and the social value system in which it is employed. The value does not really lie in the things themselves but is ‘symbolic’ and based on social agreement. Breaking through and questioning this agreement is an ability that Sofi Żezmer extensively demonstrates in her work. The US philosopher William Van Orman Quine showed in his book Word and Object (1960 ) that there is “no test” that adamantly proves at which point a fact ceases to be perceived as such and the meaning of words begins to have an influence.”
An excerpt from 'Things are looking back, object art in the age of smart materials' Salon Verlag, Cologne 2012
Ludwig Seyfarth is an art critic and curator based in Berlin.
Sofi Żezmer (born in Łódź /Poland) studied at the New York University before graduating from Cooper Union, New York in 1986 with a BFA Degree and later on from Hunter College, New York in 1993 with a MA Degree in Art History. In 1995 she moved to Wiesbaden, Germany where she is still based.
Her work is often interactive and site specific encompassing sculpture, installation, drawings and mixed media collage on paper. It has been shown in galleries, art-spaces and museums in Europe, the US and Asia as follows: 'Ballpark' Keramikmuseum Westerwald/ Germany; 'Lustwarande '11-Raw' International Biennale of sculpture, Tilburg/ Holland; 'Sight Seeing' Metis Gallery, Amsterdam/ Holland 'Remote Control', Mike Weiss Gallery, New York/ US; 'REM-Phase', Museum Wiesbaden/ Germany; 'Phase-Shift' Gregory Lind Gallery, San Francisco/ US; 'Pars Pro Toto' U.B.R. Galerie, Salzburg/ Austria; 'Discourski!' Arsenal Gallery, Bialystok/ Poland; 'Jestesmy' Zacheta Gallery, Warsaw/ Poland; <Sofi Zezmer l Christiane Löhr> Nassauischer Kunstverein, Wiesbaden/ Germany; 'On Line & Off The Wall' Galerie Hafemann, Wiesbaden/ Germany; 'Alternative Paradise' The 21st Century Museum of Contemporary Art in Kanazawa/ Japan among others and in the Spring of 2015 she participates in the exhibition"New Frankfurt Internationals 2" a collaboration of Nassauischer Kunstverein Wiesbaden and the Kunstverein Frankfurt am Main in Germany.
Sofi Żezmer's work has been reviewed in Flash Art Magazine, New York Arts Magazine, Art in America Magazine, Sculpture Magazine, Art & Antiques Magazine, Frankfurter Allgemeine Zeitung, Frankfurter Rundschau, Die Zeit Wissen Magazine and others.
Ballpark, LS1, 2014
20.5" h x 12" w x 6" d
Perch, LS1, 2014
Wood, synthetic materials
10" h x 16" w x 4.5" d
Insight, LS1, 2014
Glass, synthetic foam, durable plastic, synthetic felt
5.5" h x 5.5 " w x 12" d
Looking Glass, LS1, 2014
Glass, stainless steel, synthetic material
17" h x 9" w x 14" d
Diamonds on the Soles of Her Shoes, LS1, 2014
Synthetic materials, patent leather, metal, glass, plastic, human hair
5.25" h x 4" w x 7" d
The Sky is the Limit, LS1, 2014
Metal, glass, wood, synthetic materials
17.5" h x 13.5" w x 9.5" d