Jason Gringler’s latest exhibition at Lo Brutto Stahl in Paris, titled “Studio,” invites us into a visceral landscape where the detritus of artistic production becomes the protagonist in a philosophical inquiry into the nature of failure, energy, and transformation.
Gringler’s workspace is reimagined as a crucible for both the creation and critique of material culture, challenging the conventional boundaries between the art object and its often overlooked byproducts.
The exhibition space is meticulously curated, presenting an array of materials that speak to industrial decay and technological obsolescence—elements that Gringler integrates not just as subjects but as core components of his artistic process. Here, the remnants of failed attempts—plexiglass shards, rusty metal, and resin sculptures—are not merely discarded elements but are instead revalorized, engaging in a silent dialogue about the potential energies trapped within.
Gringler’s approach to these materials is almost alchemical. Each piece in the exhibition, whether a dense assembly of industrial waste or a carefully composed arrangement of plexiglass and silicone, speaks to the transformation of physical labor into a visual and conceptual narrative. His use of refuse suggests a defiance of traditional artistic mediums and practices, where the value is often placed on pristine creation rather than on the chaotic and the abandoned.
Central to the exhibition is the theme of labor—both physical and intellectual—as an existential investment. Gringler posits his studio as a “philosophical space” where energy, both spent and conserved, becomes the primary currency. This framing turns the viewer’s attention to the process of making as an inherently valuable act, irrespective of the final product. It’s a bold redefinition of artistic success, challenging the viewer to reconsider what constitutes waste and worth in contemporary art.
The exhibition’s configuration also prompts reflection on the artist’s role in society. Gringler’s text mentions the historical view of artists as martyrs, a notion he both acknowledges and resists. By elevating the remnants of his artistic process to the status of finished artworks, he asserts a form of resistance against the romanticized suffering often associated with artistic creation. Instead, he embraces a form of ongoing, iterative practice where each failure is a node in a larger network of creative and existential inquiry.
