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Artworks

Open a larger version of the following image in a popup: Isa Melsheimer, We Are Concrete - We Are Bodies - We Have Sex - We Are Neoreactive - We Are Relative, 2014
Open a larger version of the following image in a popup: Isa Melsheimer, We Are Concrete - We Are Bodies - We Have Sex - We Are Neoreactive - We Are Relative, 2014
Open a larger version of the following image in a popup: Isa Melsheimer, We Are Concrete - We Are Bodies - We Have Sex - We Are Neoreactive - We Are Relative, 2014
Open a larger version of the following image in a popup: Isa Melsheimer, We Are Concrete - We Are Bodies - We Have Sex - We Are Neoreactive - We Are Relative, 2014
Open a larger version of the following image in a popup: Isa Melsheimer, We Are Concrete - We Are Bodies - We Have Sex - We Are Neoreactive - We Are Relative, 2014
Open a larger version of the following image in a popup: Isa Melsheimer, We Are Concrete - We Are Bodies - We Have Sex - We Are Neoreactive - We Are Relative, 2014

Isa Melsheimer

We Are Concrete - We Are Bodies - We Have Sex - We Are Neoreactive - We Are Relative, 2014
Fibreglass, reinforced concrete, plants
Variable dimensions
Photo: JC Lett
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The three elements of this work serve various functions, ranging from a stool to a Brutalist flowerpot. They are miniature copies of skyscrapers and so recreate an urban landscape. The...
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The three elements of this work serve various functions, ranging from a stool to a Brutalist flowerpot. They are miniature copies of skyscrapers and so recreate an urban landscape. The title of the work is the artist’s subtle adaptation of Benjamin de Casseres’ pœm Mirrors of New York (1925), an allusion to the architectural modernism used as a motif in her work. The same lines were used by Rem Koolhaas as an epigram to his classic text Delirious New York: A Retroactive Manifesto for Manhattan (1978).

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