Maximilian Zentz Zlomovitz: Waiting for Maleism (3 stars)

Maximilian Zentz Zlomovitz: Waiting for Maleism

Mary Mary, Glasgow, until Sat 5 Apr


The title an artist gives to an exhibition can act as a manifesto, and Maximilian Zentz Zlomovitz’s ‘Waiting for Maleism’ is no exception. He’s asking for trouble. The work on show comprises installed sculptural elements, altered ‘readymades’ brought together to create psychically charged environments within the gallery space. If these battered and burnt chairs and lumps of plastic are anything to go by, ‘maleism’ is in a sorry state.

In the first gallery space Zlomovitz has laid red plastic flooring in a large area of the room, creating a picture plane of sorts, where he can pull and push the required elements of the piece. These segregated areas resemble workspaces, studio space where art and everyday objects are brought together or finally separated. In ‘Relaxx’ we encounter a selection of objects that can be found in our domestic environment: an office chair, a video cassette case, a mobile phone etc. But in order to claim these objects for ‘art’, the artist has slathered them in paint and battered them out of recognition. His fingerprints are everywhere. The figure, and in this case the figure of the male artist, is present only in gutted signifiers where their meaning is continually altered, and in this way ‘maleism’ may not be so different from feminism.

Elsewhere we find more traditionally acceptable art objects, a perspex sculpture (‘Express’), and a painting (‘Subway’), but these somehow betray the aesthetic that Zlomovitz has attempted to convey here.

Waiting for Maleism

  • 3 stars

First UK exhibition by Berlin-based artist Maximilian Zentz Zlomovitz, appropriating gendered objects and reflecting his interest in sub-culture filmmakers like Cronenberg and Tarkovsky.

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