The Ideocy of the Real

Bettina Meyer’s sculptural works undoubtedly cite classical modernism, and yet are very much of their own kind, having nothing to do with appropriation. She uses clay, plasticine, plaster; she casts bronzes, which she then polishes to a high-gloss finish. Bettina Meyer transforms herself and the work of her predecessors; she follows their recognisable line and adopts resonances in their work. She allows corporality to infuse her work and wrong-foots the viewer in keeping with Sloterdijk’s assessment in his Critique of Cynical Reason, namely »that everything has form and that every form speaks to us in manifold ways; the skin can hear, the ears can see and the eye can distinguish between hot and cold. The physiognomic sense leads the tensions of the forms, eavesdrops on things, their expressive whispering.«

Exhibition:
Kunstverein Krefeld, 12/11/2010–14/1/2011