Rochelle Goldberg (born 1984 in Vancouver, Canada) is a contemporary artist who lives and works in Vancouver and Berlin. Goldberg is best known for her sculptural works that challenge the fixity of the art object. Composed of living, ephemeral, and synthetic materials, ranging from chia seeds, oil, to ceramic, Goldberg's works are structured by "the logic of intraction," the artist's phrase for "an unruly set of relations in which the boundary between one entity is another is continually undermined." In her practice, intraction unfolds on both levels of form and content, rendering her sculptures "ontologically unreliable" and questioning "the distinction between living form and inert matter" through contact and permeation. At the same time, vision as "the privileged mode of access to knowl
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| - Rochelle Goldberg (born 1984 in Vancouver, Canada) is a contemporary artist who lives and works in Vancouver and Berlin. Goldberg is best known for her sculptural works that challenge the fixity of the art object. Composed of living, ephemeral, and synthetic materials, ranging from chia seeds, oil, to ceramic, Goldberg's works are structured by "the logic of intraction," the artist's phrase for "an unruly set of relations in which the boundary between one entity is another is continually undermined." In her practice, intraction unfolds on both levels of form and content, rendering her sculptures "ontologically unreliable" and questioning "the distinction between living form and inert matter" through contact and permeation. At the same time, vision as "the privileged mode of access to knowl (en)
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| - Rochelle Goldberg (born 1984 in Vancouver, Canada) is a contemporary artist who lives and works in Vancouver and Berlin. Goldberg is best known for her sculptural works that challenge the fixity of the art object. Composed of living, ephemeral, and synthetic materials, ranging from chia seeds, oil, to ceramic, Goldberg's works are structured by "the logic of intraction," the artist's phrase for "an unruly set of relations in which the boundary between one entity is another is continually undermined." In her practice, intraction unfolds on both levels of form and content, rendering her sculptures "ontologically unreliable" and questioning "the distinction between living form and inert matter" through contact and permeation. At the same time, vision as "the privileged mode of access to knowledge" is cast into crisis. (en)
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