Conceptual background.

Neo Spatiale Mobile 2024.3.21 – “Stop Art Now” positions itself within a contemporary reinterpretation of spatial thinking as initiated by Lucio Fontana and the ideas of Spatialism. Where Fontana cut open the canvas to open up space, this work opens up the discourse itself: not through penetration, but through prevention.

The work is a 360-degree rotating mobile structure that functions freely in space. In this way, it references the kinetic tradition of Alexander Calder, but instead of lightness and playfulness, Anders introduces a critical charge. The title “Stop Art Now” is not a destructive call, but an ironic intervention in the overproduction, commercialization, and contamination of art discourse.

The work functions as a spatial barrier: a visual membrane between object, space, and viewer.

Use of materials: Dental Dams as an aesthetic and conceptual statement.

The frame is filled with dental dams—latex membranes originally designed to protect against HIV, AIDS, and other sexually transmitted diseases.

This use of materials functions on several levels:

1. Protection as a metaphor:

Where dental dams are intended to prevent bodily contamination, here they are used cynically and humorously to avoid “artistic contamination.”
It is not the body that is protected—but the art itself.

“Stop Art Now” suggests an ironic quarantine:
a barrier against the inflation of meaning, hype, market mechanisms, and conceptual contamination.

2. Transparency and membrane aesthetics:

Dental dams are thin, semi-transparent, and translucent. In this work, they create a vibrant color effect through overlaps of cyan, magenta, yellow, green, and purple.

The material functions simultaneously as a skin, a screen, a filter, and a color field. The aesthetic is strikingly sensual, soft, and seductive—which contrasts with the clinical origins of the material.

3. Highly unique and rarely used:

The use of dental dams in a monumental, museum-like sculptural context is exceptional and radical.
Not as a provocation for the sake of provocation, but as a substantively considered choice:

Medical object → art object

Protection → conceptual barrier

Intimate use → public exhibition

Taboo → aesthetic refinement

The material transcends its original function and becomes visual language.

Spatiality and a 360° experience

Because the work is fully rotatable, there is no front or back.
Each rotation generates new color combinations and transparent overlaps.

This:

Breaks the traditional frontal viewing regime.

The viewer becomes co-responsible for the composition.

A continuously changing color field is created in the space.

The mobility emphasizes the instability of meaning: nothing is fixed—except the membrane.

Positioning within contemporary art

“Stop Art Now” operates at the intersection of:

Postconceptual sculpture

Biopolitical visual language

Material experimentation

Ironic institutional critique

 

The work is groundbreaking because it:

Uses an unexpected material in a monumental form

Subtly interweaves sexuality, prevention, and the art market

Combines aesthetic beauty with critical content

Introduces a new kind of “protection sculpture”

It is not an anti-artwork, but a reflection on the vulnerability of art itself.

Curatorial summary:

Neo Spatiale Mobile 2024.3.21 – “Stop Art Now” transforms an intimate protective membrane into a monumental, rotating sculpture that poses the question: what do we protect art from—and who protects it from contamination?

Mint, strawberry, grape, banana, vanilla flavor.
Latex rubber bib flaps, aluminum, nylon rope. 360° rotatable. 61 x 78 cm.
Interactive artwork that can be built to your specifications.
Includes ceiling mounting.
This mobile is very sensitive to shifting of the bib flaps, which are loosely placed on the aluminum frame.
These colored elements can be straightened.
A quiet location for the artwork is recommended.

Price upon request.