ARTIST:

Max Frisinger

Rising (Yoko Ono)
Max Frisinger
Noah’s Ark (CocoRosie)
Max Frisinger
Noah’s Ark (CocoRosie)
Max Frisinger

Max Frisinger’s raised glass cases – assemblages crammed with found material – are witty visual paradoxes, governed by a dual sense of cacophony and order. They demand careful observation, with each side like an entry point, revealing a different topography made up of found scraps – metal, wood, tubing, table legs, plastic tubs, offcuts and other broken designs – all random-looking but somehow perfectly framed around each other and their spatial limitations.

Frisinger’s works juxtapose apparent chaos with a careful sense of arrangement, and flirt with an art historical understanding of perspective, representation and abstraction. Depending on the viewer’s point of view, the objects within these three-dimensional boxes may appear to be independent from each other, or unified and flattened, like abstract paintings.

Rising (Yoko Ono)
Max Frisinger
Rising (Yoko Ono)
Max Frisinger
Rising (Yoko Ono)
Max Frisinger

Noah’s Ark (CocoRosie) (2010), a vitrine chock full of mismatched shapes, is striking for the complex imagery that rises out of its superimposed objects and the gaps left between them. Rising (Yoko Ono) (2010) shows a somewhat axial arrangement suggesting kineticism despite its crammed, impossibly static nature.

When asked about his works and the development of his practice, Frisinger simply states: ‘inveni, vidi, vici’ (‘I found, I saw, I conquered’). His assemblages can be seen to be making reference to the tradition of refuse-based art, recycling detritus to comment on the society of excess. Looming over Frisinger’s new time-capsules of the everyday are the ghosts of found-object sculptures by Marcel Duchamp and Jean Tinguely, Arman’s ‘accumulations’ and Daniel Spoerri’s ‘snare pictures’, as well as a poetic playfulness, somewhere between Joseph Cornell and the musical, performative improvisation of Fluxus.

But Frisinger’s boxes, like portable, flat-pack dumpsters, contain not just a nod to the past, but an up-to-date comment on our current culture of waste and excess in society in general but perhaps also within the art world.

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