Violet Dennison, David Flaugher,<i> a human is not a duck</i>, installation view
Violet Dennison, David Flaugher, <i>a human is not a duck</i>, installation view
Violet Dennison, <i>September</i>, 2016
Violet Dennison, <i>September</i> (detail), 2016
Violet Dennison, <i> September</i> (detail), 2016
Violet Dennison,<i> September</i> (detail), 2016
Violet Dennison, <i>September II</i>, 2016
Violet Dennison, <i>September II</i> (detail), 2016
Violet Dennison, <i>September II</i> (detail), 2016
Left: Violet Dennison, <i>September II</i> (detail). Right: David Flaugher, <i>Portrait of a flathead minnow making good conversation</i> (installation view), 2016
David Flaugher, <i>Portrait of a flathead minnow making good conversation</i>, 2016
David Flaugher, <i>Portrait of a flathead minnow making good conversation</i> (detail), 2016
David Flaugher,<i> Portrait of a flathead minnow making good conversation</i> (detail), 2016
David Flaugher, <i>Untitled</i>, 2016
David Flaugher,<i> Untitled</i> (detail), 2016
David Flaugher, <i> La toilette de Vénus (1751)</i>, 2016
David Flaugher,<i> La toilette de Vénus (1751)</i> (detail), 2016
David Flaugher, <i>Untitled</i>, 2016
David Flaugher, <i>Untitled</i>, 2016
David Flaugher, <i>Untitled</i>, 2016
David Flaugher, <i>Untitled</i>, 2016

Violet Dennison, David Flaugher, a human is not a duck, installation view

VIOLET DENNISON | DAVID FLAUGHER
a human is not a duck

9th September 2016 — 15th October 2016


ALMA ZEVI, Venice

ALMA ZEVI presents a human is not a duck: a site-specific sculptural installation by Violet Dennison and David Flaugher. The gallery is transformed into a poetic land of desolation and degradation, but also of off-beat humour and irreverent kitsch. A holiday place that went wrong, or cheerful pessimism, might be ways to describe the particular, musky atmosphere that has been created in the gallery.

Science fiction interests both artists, as well as preservation, organisms and survival. They have made work with a range of materials and disciplines that reflects their individual practices, but clearly shows an intense communication of ideas that inform their shared concepts of the show. Elegance is bestowed upon mundane and ‘unwanted’ or salvaged materials, while an uncertainty of time and place seeps from the collected elements.

The artists quietly question what is our experience of urbanism, and how natural forces that can still impact our naive fiction of controlling the elements. This was already an area of investigation for them before the project in Venice, and the premise that Venice, and indeed the gallery, floods regularly was a strong and evocative stimulus for the artists to further develop imagery and motifs.
 

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