Berlin-based artist Kirsten Pieroth plays with the materials and histories of everyday objects—books, maps, plastic bottles, telephone poles, and furniture parts. Looking for loose connections and unexpected possibilities in and between commonplace things, she uncovers unexpected opportunities for transformation and storytelling. Perspectives 172: Kirsten Pieroth is the artist’s first solo museum exhibition and includes sculptures and an installation.
Filled with low-key humor and conceptual-art smarts, Pieroth’s work restages the world as a mutable funhouse, where established functions are simply starting points for musings on the meanings and materiality of everyday life. Borrowing an inspirational spark from the experimental, life-engaged German artist Joseph Beuys (1921-1986), Pieroth celebrates the ordinariness of art-making and the belief that mundane objects can be powerful sources of energy and inspiration.
For her CAMH project, Pieroth investigates radio and telephone technology and the work of pioneering radio scientist Guglielmo Marconi (1874-1937), who in 1895 began laboratory experiments where he succeeded in sending wireless signals over a distance of one-and-ahalf miles. Pieroth creates tabletop sculptures made from rings of spaghetti sticks arranged in mounds of dirt to represent antenna arrays, and strings wire between two wooden sofa end pieces to make a Morse code broadcasting device.
About the Artist
Kirsten Pieroth was born in 1970 in Offenbach, Germany, and lives and works in Berlin. Solo exhibitions include: … kommen Sie doch, kommen Sie. Treten Sie mit mir in dieses Zimmer, Marie! (with Henrik Olesen), Cubitt, London (2005); Contemporary Art Gallery, Vancouver (2004); From the Laboratory of Thomas A. Edison, Portikus, Frankfurt (2003); and I regret that a previous engagement prevents me from accepting your kind invitation to dinner at your home, on Thursday evening, September seventeenth, Galerie Klosterfelde, Berlin (2003). Group exhibitions include: The Need to Document, Kunsthaus Baselland, Basel, Switzerland (2005); Drafting Deceit, Apexart, New York (2004); Manifesta 5, Donostia-San Sebastián, Spain (2004); and GNS – Global Navigation System, Palais de Tokyo, Paris (2003).