The rise of the artist Mai-Thu Perret in the art is sensational. Since its first prominent appearances in the gallery Praz-Delavallade in Paris (2005) and Galerie Barbara Weiss, Berlin (2006), she was so aüßerst by renowned institutions such as the Renaissance Society, Chicago, (2006), the Bonnefanten Museum, Maastricht (2007 ), Kunsthalle St. Gallen, and currently in the Aspen Museum in solo shows honored. The network of galleries, collectors and curators might be for such a young artist hardly be better. Mai-Thu Perret, in addition to the galleries above and white-Praz-Delavallade by Greene Naftali in New York. The Edition Parkett, Zurich has kürzich a character from the series Apocalypse Ballet in a small edition of EUR 1,800 was issued. http://www.parkettart.com/index3.htm
Profile: The Works of New York and Geneva working artist Mai-Thu Perret move within an ideological and visual reference systems, the concerns of modernism and its revolutionary potential orbit. From the perspective of producing recipient - Perret has no visual arts, but English literature and later at the Whitney Independent Study Program student - interested in the artist of avant-garde movements of the twentieth century, and their vocabularies, where this emancipation and progress of faith represent. So since 1999, Perret writes in The Crystal Frontier, a fictional report in diary form about a group of young women, who, isolated from the rest of the world, somewhere in the desert of New Mexico an alternative community founded. Your letter parallel to emerging sculptures and installations, often hybrids between art, craft, design and literature, as can Perret hypothetical products of the protagonists of this fiction Alternatively Community. Perret transmits its own artistic authorship on by itself created, imaginary subjects.
Building on the exhibition Apocalypse Ballet (2006), Perret in the exhibition space into an avant-garde stage design with four dance movements remained paper-transformed Mannequins, rejoices the Galerie Barbara Weiss, Bikini, under the title a second solo exhibition with the internationally successful artist, who their works, especially in the Art Hall Sankt Gallen and the Museum in Maastricht Bonnefanten exhibited to show. On 1 July 1946 threw a U.S. B-29 on the Bikini Atoll atomic bomb, the first of the postwar era and ushered in a comprehensive test row. Only a few days later sent the French fashion designer Louis Rearden model Micheline Bernardini, clothed with only four small, with newspaper reports on this bomb dropping printed fabric triangles, on the catwalk in Paris.
The Bikini Atoll was thus decisive for the naming of a new swimsuit. The taboo was broken, the controversial name, which means "land of coconuts" means proposed a like a bomb. The effect of this short-cut rise Badegewand - "like the bomb the bikini is small and Devastating" - has been associated with a similar moral indignation regarded as the American atomic bomb tests at Bikini. With the choice of this supercharged concept and historically significant as the exhibition title refers Mai-Thu Perret exactly to these events. By three glazed sculptures in the form of atomic mushrooms in the center of the gallery space is, it refers to a widely reproduced photograph from 1946. This shows Admiral Blandy, the then responsible for the nuclear test officer and his wife, as the completion of the test series Operation Crossroads with a giant edible "atomic cake" to celebrate.
With the quote exactly this cake calls Mai-Thu Perret then rampant in the U.S., unscrupulous and unsustainable progress imaginary fascination in memory. The original atomic cake - was already an incredibly naive and away the simplest means of any technology manufactured object - was a provocative and ambivalent symbol of a self-loving faith in progress without contradiction. Translated into artistic and handicraft products go Perret "Atomic Cakes" goes one step further. They appear as a childlike, "cake-like" approach to sculpture, in a frozen, glazed art form.
(Source: excerpt from Barbara Buchmaier: Mai-Thu Perret, Galerie Barbara Weiss, Berlin)
