The photo series is a kind of re-enactment of the experiental film white chairs, originally created in 2003, and it is linked to Alexandra Reill’s then applied symbol of the movements of work chairs fabricated in plastic and white, then reflecting movement in time as much as self-reflection; probably reigned by an approach to perfectionism. Looked at it now, however, in 2021, the plastic chairs used in offices and other work contexts depicted by the artist are only partially white. They are beige now – that helps with hygiene, and traces of movement are no longer so difficult to follow. Plastic chairs made in beige no longer leave traces so easily; and when they appear as a pile, there is nothing in the end that reminds us of any possible movement …

alexandra reill, beige chairs, photo series, 2021

8 photos
4032 x 3024 px [4c, 72 dpi] original digital format each
34,14 x 25,60 cm [4c, 300 dpi] each, digital photo prints behind acrylic glass shiny

production kanonmedia | vence 2021

The photo series is a kind of re-enactment of the experimental film white chairs, originally created in 2003; and is linked to symbols of perfection that were often used at the time, strengthened and promoted by technologies that evolved over time; to so-called flawless states of man. In 2003, a highly aesthetic style of work was chosen, exploring development; as an expression of a forward-looking attitude and a claim to perfectionism, questioning aesthetics. But the chairs were simply made of plastic, mostly white.

The current shape of the office chairs is still reminiscent of these demands, but now the chairs are no longer white, they no longer show themselves in that perfectionist White – although: Alexandra Reill: “white chairs is really one of my best pieces …”They are now beige – just so that they don’t pickup on the brown of former office chairs …; and they don’t leave any traces of movement …. The chairs, made of plastic, are now stacked. In such a pile they no longer show any movement; they simply conspire – so to speak – within themselves and in an immobile situation – one chair hooked into the other – and no longer stir; they remain incomplete and without motion – as if motion was no longer possible . . .