Modern Art is delighted to present an exhibition by Fiona Connor for Condo London 2018 in association with Los Angeles-based gallery 1301PE.
Fiona Connor’s work examines our relationships with objects by re-contextualising them through facsimiles of the originals. Her practice, often involving architecture, sculpture and installation, challenges the viewer’s preconceived notions of how art should be experienced.
For this exhibition, Community Notice Board and Monochromes, Connor presents two sets of noticeboards. The Community Notice Board works feature ephemera, based on real noticeboards displayed throughout Los Angeles, that have been reproduced on aluminum sheets with silkscreen and UV prints. Worn-down boards combined with stains and rips suggest previous physical engagement, while also alluding to the shifting functions of this avenue of communication inextricably caused by the internet. The works on show from Connor’s Monochromes series, comprised of several resin casts of painted over noticeboards, imply that these voices have been muted yet unified. Where noticeboards once brought communities together through geographic proximity, online message boards and forums now encourage community through personal interest.
Fiona Connor was born in Auckland, New Zealand, in 1981. She lives and works in Los Angeles. Connor was recently included in the 2017 Chicago Architecture Biennial as well as the first and second Los Angeles biennial, Made in L.A. 2012 and 2014 at the Hammer Museum. Her solo shows include Wallworks at Monash University in Melbourne, Murals and Print (the inaugural exhibition at Various Small Fires), Los Angeles. Recent museum group exhibitions include TL;DR at ARTSPACE, Auckland, New Zealand; Gap, Mark, Sever and Return, Human Resources, Los Angeles; Concrete Situations, Pact, Essen, Germany; Experimental Impulse, REDCAT, Los Angeles; and Octopus 8, Gertrude Contemporary, Melbourne, Australia. In 2010 she was a finalist for New Zealand’s most prestigious contemporary art award, the Walters Prize.
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