Anna-Sophie Berger

Sin


May 13 - June 18, 2022

Frieze
Art Observed

JTT Podcast: instruments of fraud

installation view, Sin, JTT, New York

Anna-Sophie Berger (b. 1989) is an artist based in Vienna and New York. Trained in fashion, Berger maintains a sculptural practice informed by a psychosocial and economic understanding of objects - their individual use as well as their commodification. In recent work, she explores these themes through an investigation of historical sumptuary laws. These serve to “regulat[e] the consumption of materials for citizens’ daily fashions usually on religious or moral grounds and naturally corresponding to strict class lines,” as she describes in her essay “Waist of Money.”

Berger often embeds her objects and installations with a complex symbolic language. By taking recourse to stage organization in theater her sculptures can appear as actors as well as props. In several new works this manifests through the appropriation of components from works of art from the early modern period, such as the Unicorn Tapestries or the allegory of Wealth from the medieval epic poem “Romance of the Rose.” Christian scholastic themes are scrutinized for their bearing on contemporary notions of morals. Other sculptures isolate elements of incidental design from shared municipal spaces including playgrounds, parks, and construction sites. Thus, Berger links the ever-contingent meaning of objects to both their popular and historical understanding.

Lady Wealth, 2022
velvet, cotton, thread, polyurethane, lacquer, paint, laminated paper, zip tie, frogs (Hester & Eldridge)
72 x 92 x 94 in
183 x 233.5 x 239 cm
Lady Wealth, 2022
velvet, cotton, thread, polyurethane, lacquer, paint, laminated paper, zip tie, frogs (Hester & Eldridge)
72 x 92 x 94 in
183 x 233.5 x 239 cm
Lady Wealth, 2022 (detail)
velvet, cotton, thread, polyurethane, lacquer, paint, laminated paper, zip tie, frogs (Hester & Eldridge)
72 x 92 x 94 in
183 x 233.5 x 239 cm
Lady Wealth, 2022 (detail)
velvet, cotton, thread, polyurethane, lacquer, paint, laminated paper, zip tie, frogs (Hester & Eldridge)
72 x 92 x 94 in
183 x 233.5 x 239 cm
installation view, Sin, JTT, New York
Occam's Razor, 2022
aluminum ladders, zip ties
21.5 x 21 x 121 in
54.5 x 53.5 x 307.5 cm
Occam's Razor, 2022
aluminum ladders, zip ties
21.5 x 21 x 121 in
54.5 x 53.5 x 307.5 cm
Occam's Razor, 2022 (detail)
aluminum ladders, zip ties
21.5 x 21 x 121 in
54.5 x 53.5 x 307.5 cm
installation view, Sin, JTT, New York
Empress Elisabeth of Austria in Mourning, 2022
c-print, framed
32 x 21 in
80.5 x 53.5 cm
The Virgin and the Unicorn, 2022
velvet, cotton, thread, mud, polyurethane, paint
72 x 32 x 33 in
183 x 81.5 x 84 cm
The Virgin and the Unicorn, 2022 (detail)
velvet, cotton, thread, mud, polyurethane, paint
72 x 32 x 33 in
183 x 81.5 x 84 cm
The Beast On Whose Account I Turnt, 2022
paper, inkjet, sticky tape
44 x 65 in
111 x 165 cm
The Beast On Whose Account I Turnt, 2022 (detail)
paper, inkjet, sticky tape
44 x 65 in
111 x 165 cm
installation view, Sin, JTT, New York
The GAPED Altar, 2022
wood, lacquer, c-prints of affective pictures from the Geneva Affective Picture Database (GAPED)
65 x 49 x 11.5 in
164.5 x 124.5 x 29 cm
The GAPED Altar, 2022 (detail)
wood, lacquer, c-prints of affective pictures from the Geneva Affective Picture Database (GAPED)
65 x 49 x 11.5 in
164.5 x 124.5 x 29 cm
installation view, Sin, JTT, New York
Fountain, 2022
plywood, screws, polar fleece, tin and lead alloy with aluminum coating, thread
31.5 x 15 x 17.5 in
80 x 38 x 44.5 cm
Fountain, 2022
plywood, screws, polar fleece, tin and lead alloy with aluminum coating, thread
31.5 x 15 x 17.5 in
80 x 38 x 44.5 cm
Fountain, 2022 (detail)
plywood, screws, polar fleece, tin and lead alloy with aluminum coating, thread
31.5 x 15 x 17.5 in
80 x 38 x 44.5 cm