Introduction of the artist:

Ceal FLOYER (Germany)

Born in 1968. Lives and works in Berlin.
Selected solo exhibitions: 2011 Works on Paper, CCA, Tel Aviv; 2010 Lisson Gallery, London; 2009 Kunst-Werke Berlin – Institute for Contemporary Art, Berlin; 2009 Gakona, Palais de Tokyo, Paris; 2007 Centre d’Art Santa Monica, Barcelona;
Selected group exhibitions: 2012 Documenta 13, Kassel, Germany; 2011 Singapore Biennale; 2010 Don't Look Now, Kunstmuseum Bern; 2009 Nam June Paik Award, Nam June Paik Center, Seoul; 2007 The Invisible Show, The Center for Contemporary Art, Tel Aviv; 2006 the 6th Shanghai Biennale, China. 

Ceal Floyer’s work embodies a subtle minimalism through video, sound and light projection, works on paper and sculptural pieces based on ready-made objects. It is informed by a very particular sense of humour,derived from shifting points of view, double-takes and an idiosyncratic reordering of everyday phenomena. It communicates simultaneously the vital possibility of creativity in any situation and a constant hint of absurdity.
Floyer enjoys the ambiguity that arises out of puns, both visual and verbal. Amongst the works in this exhibition is Blind (1997), a video work that epitomises her artistic practice. On a monitor at first we see nothing – or rather we see an expanse of unmodulated whiteness filling the entire screen and, with the title of the work in our minds, we immediately think of a kind of snow blindness whereby all definition within a visual field is bleached out. Then a silhouetted geometry gradually appears and we realize that in fact we have been watching a roller blind, close-up, at first motionless and then sucked towards a window by the wind. The blind of course obscures any view through the window, and thus also refers to a denial of pictorial space.

Introduction of works:

Title: Blind
Year: 1997
Media: DVD, DVD player, wall mounted monitor
Duration: 30", loop
Image Courtesy: MADRE, Naples, Italy, 2008

Ceal Floyer’s work embodies a subtle minimalism through video, sound and light projection, works on paper and sculptural pieces based on ready-made objects. It is informed by a very particular sense of humour, derived from shifting points of view, double-takes and an idiosyncratic reordering of everyday phenomena. It communicates simultaneously the vital possibility of creativity in any situation and a constant hint of absurdity.

Floyer enjoys the ambiguity that arises out of puns, both visual and verbal. Amongst the works in this exhibition is Blind (1997), a video work that epitomises her artistic proposition. On a monitor at first we see nothing - or rather we see an expanse of unmodulated whiteness filling the entire screen and, with the title of the work in our minds, we immediately think of a kind of snow blindness whereby all definition within a visual field is bleached out. Then a silhouetted geometry gradually appears and we realize that in fact we have been watching a roller blind, close-up, at first motionless and then sucked towards a window by the wind. The blind of course obscures any view through the window, and thus also refers to a denial of pictorial space.