Muriel Lisk-McIntyre is a french-american artist, curator and researcher based in Berlin and Athens. Her practice explores spaces and how they can be constructed and sculpted with objects, materials and shapes, through a process of placing, cut/past/edit.
Site specific installations, performative installation, analog and digital collage are ways in which her process manifests. To this extent, display and exhibitions are the medium she works with. This last point is why the curatorial has been introduced in her practice.
Having studied a double masters in Fine Art and History of Art (2016 - 2021), the place of theory and fine art experimentation are balanced out and play equal roles in her practice.
She is currently a researcher at State of Concept Athens, where she is creating the foundations of her future art space The Waiting Room.
- 48 Stunden Neukölln, via Marie Jane Chanel, Berlin June 2021.
- Corona Culture, Berlin October 2021
- Love Line, Berlin February 2023
Curatorial: Corona Culture (Berlin, October 2021),
Member of gr_und as a curator and artists (Berlin, January 2022 - present).
Residencies: TAKT (Berlin, 2018), NSCAD (Halifax, 2019), Michaelis School of Fine Art (Cape Town, 2019).
Publishing: As part of Marie Jayne Chanel, the collective she runs with Claire McIntyre
- Cahier d’Image (Luxembourg 2021)
- Monira Foundation, ( May 1, 2022)
My work responds to any given space it has the opportunity to inhabit. It is a mobile exhibition, created from my sculpture kit, curated by my eyes.
I see what the space has to offer, and question how that may affect my work. I then create accordingly to this environment. As I respond to a space, I reflect upon the dialogue created between a place that had once been, affected by historical shift, and the memory it hold, in relation to the fabricated space I create.
I assemble materials and forms of different aspect, such as vertical blinds, synthetic furs or used chairs, reminiscent of office, lobbies, waiting rooms. Although industrial, these everyday objects, from which emanates a lived experience, detach themselves their inherent context. Alongside them, I place animal produce that I use to disturb them such as real furs, egg yolks or pork trotters. These objects and materials are signifiers of my work, to create ephemeral scenographies where I associate the degradable with the geometrically shaped and mass-produced objects.
Sculpture, installation, collage, placing, hanging. These are words that qualify my prac- tice, but ultimately, it is about sculpting and responding to a space. I characterize space by placing object in it, I disrupt space by introducing the non-controllable object in it. There is an element of doubt, of unease that transpires through my work.
To this extent, I have been looking into Gilles Deleuze The Body without Organs, and Powers of Horror by Julia Kristeva.
Interview with Art Is