Contemporary art can be a confusing genre for individuals not interested in the art world, as it often pushes the boundaries of what we perceive to be beautiful and artistic. And while many contemporary artists still work with a traditional canvas and paintbrush, the desire to envision and create something new frequently translates into unusual methods and atypical media.
This is especially true for the work of Gabriel Kuri, currently on display at the Institute of Contemporary Art/Boston (ICA). Grounded in conceptual art, Kuri's pieces are perfect examples of aesthetics taking a backseat to ideas. While the items themselves may seem simplistic — his pieces include receipts, plastic bags, empty cans and old newspapers — the concepts behind them elevate them above simple, disposable trash.
Much of Kuri's work explores the relationship between consumerism and the transience of time in a manner that is both humorous and disheartening. Upon entering the exhibit, visitors are met with "Model for Parade" (2010), which features a conveyor belt with an empty aluminum energy drink can. The can bounces repeatedly at the end of the conveyor belt, unable to move forward. The ceaseless use of energy and the dead end the can faces make the piece itself feel draining.
Meanwhile, hanging from the ceiling is "Thank You Clouds" (2004), which features clusters of inflated plastic bags with polite phrases written on them that thank consumers for their purchases. The plastic bags reflect the large amounts of product we purchase and consume, as well as the disconnect between sincere thank−yous and a corporate printed cliche for purchasing. They also exemplify Kuri's interest in advertising and packaging.
This same interest can be seen in his piece "Complimentary Cornice and Intervals" (2009). The work features four large pieces of marble made for a kitchen or bathroom leaned against the wall. Sitting upon the edge of the marble slabs are numerous travel−size bottles of shampoo, lotion and conditioner. The bottles — each from different hotels, some partially used and some brand new — represent various nights spent away from home. Despite the fact that the bottles are all designed and structured differently according to the hotel, they are essentially repetitious. Additionally, the transience of the disposable shampoo bottles contrasts with the permanence of the marble stone. The four slabs are separated slightly from each other, suggesting intervals of time.
Time is explored further in works like "Recurrence of the Sublime" (2003) and "Untitled (Diario económico)" (2004). The latter piece features financial newspapers with squares of moistened moss layered in between the pages. The moss will inevitably cause the newspaper to disintegrate, demonstrating the transience of a daily newspaper through a visible, natural process. The temporary nature of the work also seems to contradict the normal instinct that art should be timeless — there is no way for a museum to preserve his piece.
Kuri's fascination with receipts is also prominent throughout the exhibit; he envisions them as diaries of a person's day, as well as a form of individual affirmation. "Untitled (Superama I, II and III)" (2003−05) features three replicas of three receipts. These replicas are enlarged versions of the original, woven exactly into a tapestry. The artist went to the same Superama Wal−Mart store on the same day three years in a row, and purchased the same items, including tuna and Cheetos. While the actual receipts themselves are printed automatically and effortlessly, the woven tapestries required the manual work of very highly skilled weavers.
Since Kuri did not physically create the tapestry himself, "Untitled (Superama I, II and III)" also bring into question the relationship of the artist to his work, which comes up frequently in conceptual art. Overall, the tapestries aren't particularly pleasant to look at, done in neutral beige and black and exactly replicating an actual receipt, but the minor discrepancies between each one are enough to hold the viewer's interest, as they show how time has affected the purchases.
While Gabriel Kuri's pieces may not entice your aesthetic eye, the ideas behind his art are immensely attractive and relevant. The items he uses in his work are things we interact with on a daily basis and his exhibit will surely make you think twice the next time someone hands you a receipt and a plastic bag stamped impersonally with Have a Nice Day!
