Alisa Baremboym creates synthesized objects that investigate and extend critical aspects of materiality as they relate to the body. She explores dissolving boundaries between machines of production and consumption and our finite biological nature.

Her new works for TB2014 were conceived as mangled conveyor belt “systems” whose disjointed industrial parts have been reconfigured to function within a new set of adjusted parameters. The made-up, merged names of the “systems” refer to opaque global companies that obfuscate the comprehension of the consequences of consumption in our daily lives. Using ceramic, gelled emollient, vinyl, printed silk gauze, tubing, bungee straps and other adapted materials, Baremboym sets up different material interactions.

Ceramic retains a porous quality when baked to a bisque temperature, and in that way functions much like skin. When the porous ceramic surface interacts with the gelled emollient, it soaks in the mineral oil (a byproduct of petroleum distillation) contained in the gel. These works create a process in and of themselves. They are both a trace and enactment of the potentiality of material erosions and transfusions, and therefore embody the theme of “The Great Acceleration.”

Baremboym's work has been exhibited at the Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York (2014); Fridericianum, Kassel, Germany (2013); MoMA PS1, New York (2013); Beaux-arts de Paris, Paris (2013); Ullens Center, Beijing (2013); and Sculpture Center, New York (2012). Recently she has been included in shows at Pilar Corrias, London (2014); Miguel Abreu, New York (2014); Luxembourg & Dayan, New York (2014); Robert Miller Gallery, New York (2013); and Castillo/ Corrales, Paris (2013). She is represented by 47 Canal in New York, where she will have her next solo exhibition in 2015.