In MO.CO Abnormal Ceramics

Counter Nature, the new MO.CO gallery, features an immersive environment filled with ceramic pieces organized in three different climates that, even in their diversity, galvanize an exciting exploration of the substance’s essence.

By analyzing and questioning the various layers and processes of transformation of the Earth, as well as the abundant – and sometimes contradictory – forms that can result from it, the exhibition Country Nature brings together about thirty artists who invite us to live temporarily in this singular ecosystem, almost alive.

To enter the first climate the exhibition presents is to plunge into a shimmering celestial marine biosphere, giving the impression of magical, even supernatural, but completely natural and organic. The rooms that make up this space can be colorful, sometimes shimmering, of different materials and sizes, mistaken for corals, volcanic rocks, or organisms of all kinds. Acts like Claire Lindner’s already seem to be in motion; They transform before our eyes, changing their poisonous colors as we approach and diversifying their illumination – making them both seductive and annoying due to their amazing physique.

Leaving this magical and vibrant space, we are faced with an even drier and metallic scenario. A change in thought exacerbated by the transition that occurred through installation by Anne Wenzel, silent landscapes (2006), who contemplates the processes of natural devastation not only through the post-apocalyptic aspect of the work but also at the same process by which its porcelain is created. In this second climate, the process of transforming raw materials takes on importance and the resulting works abandon the grotesque character and former play of darker and bleaker traits, while still invoking a certain organic quality, sometimes resembling beings or faces.

The scale grows significantly and generally adopts a more architectural identity, the latest atmosphere that dazzles the viewer in another refreshing way. Whether it’s totem-like pieces, tall carvings, or more pictorial details, this last part of the exhibition glorifies porcelain with its greatness. Playing with cultural connotations, histories of material, and at times incorporating a narration bearing references while maintaining a fascinating aspect, many of the works come at the conclusion of Counter Nature, such as Marilyn Moquet’s installation, which appears to have come out of a Grimm’s tale.

Counter Nature Exhibition
Porcelain ordeal by fire »
Until September 4, 2022 at MO.CO

13, rue de la Republique, 34000 Montpellier

View of the Country Nature Gallery, courtesy of MO.CO

Mathilde sauce New Eve2020 Courtesy of the artist

Claire Lindner, details vertical entanglement2022, photograph by Claire Lindner, courtesy of the artist

Ann Wenzel silent landscape2006, photograph by John Stoel, courtesy of artist Galerie Suzanne Tarasieve, Paris & AKINCI Amsterdam and © ADAGP, Paris, 2022

Sylvie Ofry without an address2020, Image copyright Yann BOHAC, Courtesy of the artist and Laurent Godin Gallery

View of the Country Nature Gallery, courtesy of MO.CO

John Critten Odore di Femmina, Brain Migration II2015-2016, Image source: Claire DORN, Courtesy of the artist and Perrotin Gallery © ADAGP, Paris, 2022

View of the Country Nature Gallery, courtesy of MO.CO

Marilyn Muquet, tree guard2020, Image source Thibault Hazelzet, Courtesy of the artist and © ADAGP, Paris, 2022

Marilyn Muquet, In the heart2016-2017; eclipse2018; Assumption guardian2018; venus with apple2018; The tree with the apple in the mouth2022; child tree2022; Tree eyes towards the sky2020; candle tree2020; tree guard2020; apple in glass2021; mountain apple2021; candy apple (red)2020; killer apple (white)2020; Platinum apple2021. Courtesy of the artist © ADAGP, Paris, 2022

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