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The Future Generation Art Prize 2012 Special Prize Winner
Micol Assaël’s sculptural work develops from natural phenomena that can normally be perceived through coincidence only. These phenomena function according to invisible laws and principles, which Assaël attempts to reconstruct in her research with the assistance of scientific and technological experts. The sculptural outcome is an almost technological object or installation that makes the invisible “tangible”. Her work directly engages the viewer who completes it by perceiving the invisible.
The PinchukArtCentre shows a newly created video piece by Assaël, marking a new direction in her oeuvre. The performative function of the spectator as well as the research process necessary to unveil the invisible principles and laws behind the physically recognizable world still continue to play key roles in this work.
“The jury awards Micol Assaël a special prize for her construction of an environment through her video in which the viewer is exposed to both the sensuality and anxiety of being in a specific physical situation of precariousness, such as a barren landscape with surrounded by swarming bees. This audio surround and video work marks a continuity and also a shift from her recognized practice in installation and sculpture, where the lens of the camera is materialized and identified with the gaze of the fragile, yet observing subject.”
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Υπερενταση (Overstrain), 2012
The Future Generation Art Prize 2012 Special Prize Winner
Micol Assael was born in 1979 in Rome, Italy. She currently lives and works in Greece and Rome. She had solo exhibitions at Kunsthalle Basel (2007) and at Palais de Tokyo, Paris (2009), and group exhibitions including the 28th Biennial of São Paulo, ...5 Minutes Later, KW Institute for Contemporary Art, Berlin, and Italics, Palazzo Grassi, Venice (all 2008). Berlin Biennale (2006), Venice Biennale (2003/2005), the Moscow Biennale (2005).
“The jury awards Micol Assaël a special prize for her construction of an environment through her video in which the viewer is exposed to both the sensuality and anxiety of being in a specific physical situation of precariousness, such as a barren landscape with surrounded by swarming bees. This audio surround and video work marks a continuity and also a shift from her recognized practice in installation and sculpture, where the lens of the camera is materialized and identified with the gaze of the fragile, yet observing subject.”
