Artista

Claudia Comte

1983 en Suiza

Datos generales
Sin Algoritmo AI

Residencia:

Reside en Berlin, Alemania

Exposiciones colectivas vigentes:

Desert flood

Profesionales que le han comisariado:

Chus Martínez en:

After Nature, 2021

Premios ganados:

Zurich Art Prize 2019

Ferias en las que participa con OBRA :

ARCOmadrid 2023
ZONAMACO 23

Galerías y otras organizaciones que le representan:

Gladstone Gallery

Organizaciones con obra:

Marciano Art Foundation

MoMA - Museum of Modern Art

Museum Haus Konstruktiv

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Etiquetas:

Arte contemporáneo Escultura Instalacion Pintura

Enlaces oficiales:

Web Instagram

Descripción del Artista

Claudia Comte (b.1983, Grancy, Switzerland) is based in Berlin and Grancy. Comte is best known for her site-specific installations, featuring wooden sculptural forms set against graphic, abstract wall paintings. Comte creates a unique, rule-based measurement system for each new body of work so that every piece relates to a particular scale. Despite such regimented schemes, Comte’s pieces are imbued with a sense of playfulness, humor and irreverence, puncturing the solemn atmosphere connected with minimalism. Selected solo and group shows include: NO LEMON NO MELON, Gladstone Gallery, New York, (2015); Easy Heavy III, Haus Konstruktiv, Zurich (2014), Sharp Sharp, David Dale Gallery, Glasgow (2014), If I were a rabbit, where would I keep my gloves?, BolteLang, Zurich (2013); Scantione-Tensione, Swiss Institute of Rome, Rome (2011); Elevation 1049, curated by Neville Wakefield, Gstaad (2013); Post-Op. Perceptual Gone Painterly / Du perceptuel au pictural. 1958 – 2014, curated by Matthieu Poirier, Galerie Perrotin, Paris (2013). The ... work of Claudia Comte comprises sculpture, painting, installation and exhibition design. The sculptures, which are hewn from varieties of precious wood and marble, are formally evocative of the curvilinear amoeba-like stuff of modernism. The wooden sculptures are initially carved with a chainsaw, and then subjected to a finishing process that virtually suppresses any trace of the human hand. The marble works are initially hewn digitally, and then manually finished through sanding. The paintings, which consist largely of targets and stripped wall paintings, unequivocally issue from the tradition of hard-edge geometric abstraction, which characterizes one strain of Swiss painting. They are made through the usual process of taping off sections, applying paint and removing tape. The sculptures and paintings are almost always originally presented in installations in which the design, from the color of the walls to the sculptures’ plinths, is site-specific and integral to the exhibition. Works are therefore contextualized in highly controlled and totalizing environments, in which the artist apparently accords herself a special authority over how her works are, if not read, then at least perceived. Her approach, generally, speaking is methodical and systematic.