Not for the first time do Luc Meresma’s strategies of asymmetrical mimicry and artificial mimesis find their material in objets trouvés from the equipment of all too human special interests—in this case angling.
Mersma’s flippant playing with theoretical concepts such as “quasi objects” or “trivalent actants” delight in articulating the latest instruments of simulation and illusion, and do so—as is always assured—with “completely unironical zeal.” Art-historical borrowings from realisms of every shade are hot-wired with the manipulative processes of “neuromarketing” or “active measure intelligence.”
In his current projects Meresma applies himself to a wide-ranging “field research on the determination of market-generic categories” and a “reduction division of desire to be structured on the dividuum.” Object-based works and performed interventions combine in the overall long-term project of transformation of the artist’s own work into an encompassing “incorporated design.”
Meresma, it was recently said, “is still disappointing the expectations of the great omnivores.” Dire works on the bogus regime—not just of art—but endowed with wit, beauty and irresistible fetish character. Lap them up!
Rubber baits in cellophan bag
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