Simon Starling on the cover of the March Issue of Art Review
The artist continues to test the limits of what one can squeeze into – and out of – a work of art.
Text by Mark Rappolt
…Starling’s work uses objects to generate sprawling tales – often concerning the fabrication, display and dissemination of art objects, woven together with their connections to the political, social and economic systems that more generally structure and locate the position of objects within the world. An early work, A Charles Eames ‘Aluminum Group’ Chair Remade Using the Metal from a ‘Marin Sausalito’ Bicycle / A ‘Marin Sausalito’ Bicycle Remade Using the Metal from a Charles Eames ‘Aluminum Group’ Chair (1997), features objects designed to hold stationary and moving bodies. The bike (exhibited leaning against a plinth) looks like a bike, and the chair (on a plinth) looks like a chair. But we know, on some originary level, that the chair was once a bike and the bike was once a chair, and then start thinking about the similarities and differences between the pair of California-designed objects. The objects become subjects – or at least the two categories become blurred…