Tarik Kiswanson

No Hard Feelings


Paris

  • , Sphere, 2015
    Stainless steel
    84 x 110 x 68 cm
  • , Robe 7, 2015
    Stainless steel
    235 x 290 x 20 cm
  • , Robe 5, 2015
    Brass
    230 x 145 cm
  • , Robe 4, 2015
    Stainless steel
    230 x 145 cm
  • , Robe 2, 2015
    Stainless steel
    230 x 145 cm
  • , Robe 1, 2015
    Stainless steel
    230 x 145 cm
  • , Ambiguous object 6, 2015
    Brass
    17,5 x 22 x 5 cm
  • , Ambiguous object 5, 2015
    Brass, silver
    240 x 32,5 x 34,5 cm
  • , Ambiguous object 5, 2015
    Brass, silver
    240 x 32,5 x 34,5 cm
  • , Ambiguous object 4, 2015
    Brass, silver
    250 x 30 x 31,5 cm
  • , Ambiguous object 4, 2015
    Brass, silver
    250 x 30 x 31,5 cm
  • , Ambiguous object 3, 2015
    Steel, tin
    240 x 32,5 x 34,5 cm
  • , Ambiguous object 3, 2015
    Steel, tin
    240 x 32,5 x 34,5 cm
  • , Ambiguous object 2, 2015
    Steel, tin
    300 x 25 x 25 cm
  • , Ambiguous object 2, 2015
    Steel, tin
    300 x 25 x 25 cm
  • , Runner 2, 2015
    Brass, silver
    300 x 25 x 7 cm
  • , Runner 1, 2015
    Steel, tin
    400 x 31,5 x 7,5 cm
  • , Crossing 18, 2015
    Brass, silver
    185 x 24,5 x 21 cm
  • , Crossing 17, 2015
    Brass, silver
    150 x 21,5 x 21,5 cm
  • , Crossing 15, 2015
    Brass, silver
    134 x 28 x 22,5 cm
  • , Crossing 12, 2015
    Brass, silver
    192 x 20,5 x 20,5 cm
  • , Crossing 11, 2015
    Brass, silver
    160,5 x 24,5 x 23,5 cm
  • , Crossing 9, 2015
    Brass, silver
    171,5 x 20,5 x 24 cm
  • , Crossing 8, 2015
    Brass, silver
    170 x 20 x 19,5 cm
  • , Crossing 7, 2015
    Brass, silver
    173 x 20,5 x 23,5 cm
  • , Crossing 3, 2015
    Brass, silver
    165 x 22,5 x 18,5 cm
  • , Crossing 1, 2015
    Brass, silver
    171 x 30 x 25,5 cm

Press release

In Tarik Kiswanson’s works, the body is never a full mass or a material reliant on itself. On the contrary, it is a structure, in the proper sense of the term, primarily ephemeral and immaterial, where the space in between plays a major dynamic role.

These metal surfaces, carefully crafted by the artist, impose on the viewer a presence that is both ungraspable and threatening due to their hard edges and angles, their slender tips, and their multiple reflections.

The oxidized soldering stains take on a pictorial dimension as they splatter all the colors of the spectrum here and there, across the shiny, highly-polished surfaces. Reduced to its frame lines, to its bare bones, a dysfunctional and skeletal furnishing is deliberately stripped of its function as a showcase or as a storage.[…]