“Moods”, be they specific or vague, depend on various factors that may be individual just as they may reflect a particular time or generation, as described by Amanda Lear in a line from her song Alphabet “this is my alphabet for the children of my generation, … each generation may find a different mood to their world…” Tom Burr’s elegant arrangements of sculptures and objects aim for romantic desire at the same time as being cerebral events. At the Secession, Burr is showing new and recent works, loosely grouped and dividing the space into several areas.
At the center stands a group of stage- or cage-like objects situated somewhere between sculpture, runway, boutique decor, and set design. They recall the sculptural spaces of Alberto Giacometti and Cady Noland, or Pierre Klossowski’s Barres Paralleles. The pedestals are integral parts of these sculptures, which are not site-specific and which could be installed anywhere. Burr plays with the idea of an artist producing an autonomous artwork in his studio. Other sculptures, screens, and horizontal foldable objects that seem to refer to the human figure, also appear to be transportable and adaptable to any given situation. They are constructions of subjectivity, display, and instability (of identity, objects, and spaces). The installations include a number of objects such as items of clothing, mirrors, chairs, and books—aesthetic surrogates whose function is to anchor past moods and feelings, or to put on show memory as such.