Born New York, 1991, lives and works in New York
Hannah Levy’s surrealistic sculptures revisualise the formal language of classic, modernist design office and home furnishings into extraordinary and alluring anthropomorphic forms. Handrails, gym equipment, medical devices, and other mundane, mass-produced, functional items are mined for their forms and likenesses (commonalities), then mutated into unnameable singular things that embody human characteristics and emulate personality. Casts of natural produce and consumables are also subsumed into draped or stretched silicone skins that preserve an implied synthetic sustenance. The highly polished nickel-plated tubular frames of Levy’s sculptures are reminiscent of the flawless minimalism of Mies van der Rohe’s “skin and bone” architecture, while the flesh-like silicone and latex appendages of her sculptures are more analogous to fetishistic objects. It is through this striking discordance that Levy’s works emerge, equally super-normal and sensuously repulsive.
In April 2018, Hannah Levy will hold her first solo exhibition with mother’s tankstation. Recent exhibitions include Being There, Louisiana Museum of Modern Art (2017), Past Skin, MoMA PS1 (2017), Things I Think I Want, Frankfurter Kunstverein (2017), White Flag Projects Library, St. Louis (solo, 2016), Soft Costs_Money Over World. Wiesen, Kunstverein Wiesen (2016), Parked Like Serious Oysters, Museum für Moderne Kunst, Frankfurt (2015), and Pretty Eyes, Electric Bills, Fordham University, New York (2015). Levy completed her MA at the Städelschule, Frankfurt in 2015. Hannah Levy held her first solo exhibition, Panic Hardware, with mother’s tankstation in May 2018.