Céline Condorelli

My work largely consists in altering what I call ‘existing conditions’, which I understand in the widest sense, from the socio-political context of a site, the architecture of a building, the display and specific use of objects, to the wider conditions under which people live and work.Removing these conditions (and their relationships) from their supposed state of neutrality or allocated place, and turning them into the core of an ongoing inquiry is what all my projects attempt to do, in different ways.

I make work that makes it possible to experience not this or that thing on display, nor this or that object being shown, but the action of showing itself, in its material, temporal nature. Precisely because the act of showing implies boundaries and classifications, inclusions and exclusions, taboos and hierarchies. In other words, to counter the implicit awareness of an organised visibility that comes to be institutionalised, to be inscribed on social space, even though it may set off, for instance, from a simple exhibition support.

The artworks that develop from this approach have as their explicit function to make things public — not least art and space. They are simultaneously sculptures and public spaces, artworks that can often be sat upon, rested on, used and inhabited, allowing an intimacy with form that’s not normally allowed with cultural objects.