Sarah Sze presents "Triple Point" in the 55th edition of the Venice Biennale

Sarah Sze: An acrobrat in Venice
Venice - JUN 07, 2013
One might say that Sarah Sze practices equilibrium. The work that the artist presented at the 55th edition of the Venice Biennale as a representative of the U.S. pavilion, Triple Point, gives us an idea of this: in thermodynamics, the concept of "triple point" means a particular combination of temperature and pressure at which all three states of matter (solid, liquid and gas) are in complete balance. Her sculptures with objects (solids) arranged in space (gas) through (liquid) relationships are poetically articulated by this concept. But they also exemplify survival and balance techniques of contemporary artists when challenging nomadic practices.
Sarah Sze: An acrobrat in Venice
Sarah Sze. Photo by Suki Dhanda
The work which the artist, commissioned by the Bronx Museum presents this year is the result of an aesthetic that she began to  develop in the 90s and with three months of work in situ. During this time, Sze has been gathering city objects (stones, leaves, tickets) and gradually giving way to sculptures in which the technique (projectors, lamps, fans) is interrelated and interacts with the organic to create artifacts based on the idea of connectivity. Thus, the physical gear of the material is inseparable from any other typological order (clusters of elements in families). In this sense, Sarah Sze's sculptures recreate the space from the inscription of an order within chaos.
Sarah Sze: An acrobrat in Venice
Sarah Sze, Triple Point (Pendulum), 2013. Photo: Tom Powel Imaging
In this sense, her work is an example of the strong impulse of contemporary art to find the radication practices of current subjectivities. It would be, as the curator Nicolas Bourriaud says, an example of radicant art: “With its at once dynamic and dialogical signification, the adjective “radicant” captures this contemporary subject, caught between the need for a connection with its environment and the forces of uprooting, between globalization and singularity, between identity and opening to the other.” Over one of her sculptures hangs a pendulum, maybe as a reminder that despite the dispersion of objects and matter and subjectivities (contemporary nomadism), there are radicant stategies in art. The appropriation of materials of the city of Venice to create the her own cosmogony is radicant practice of her work.
Sarah Sze: An acrobrat in Venice
Sarah Sze, Triple Point (Observatory), 2013. Photo: Tom Powel Imaging
Therefore Sarah Sze's work is about balance in all its forms. It takes as a metaphor a concept of thermodynamics but it also articulates the need of the contemporary artist to order the chaos and combat nomadism, to find new pendulums and create their own cosmogonies, extending their own work threads, their own subjectivity. Perhaps this is why her sculptures are not reduced to the outside and the four rooms of the U.S. pavilion, but rather the artist has dispersed fragments through out the city of Venice, in shops or on rooftops around the via Garibaldi. This aims to expand the range, the area of ??their cosmogony, make their work radicate in the space of the city. But the radication is also temporary: the last room of the exhibition of Triple Point, which could be considered the artist's studio during these three months, besides being an archaeological testimony of the artistic process, is part of the exhibition space and its temporality. In fact, this is the longest residency of any artist at the Venice Biennale in history.
Sarah Sze: An acrobrat in Venice
Sarah Sze, Triple Point (Gleaner), 2013. Photo: Tom Powel Imaging
Triple Point can be visited online at the website www.sarahszevenice2013.com. In addition, Bloomberg is supporting the initiative of The Sixth Room, a visual representation of the data on the audience that visits her work in the U.S. pavilion and through Internet: www.thesixthroom.org.

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