Home Sweet Home

Thirty-five years separate the two artists, who were reunited through their respective movable series. This rapprochement shows that the two men have much more in common. If they do not share the same artistic style or the same conception of art, the elder one still needs picture rails to hang his paintings while the younger one realizes a work “which does not necessarily hang on a wall or in a shop window”. They have a similar political taste that makes their plastic production a plea against bourgeois art. By choosing both the absurd and the grotesque as an expression of their work, they denounce the conformism of the society that is theirs. The furniture they represent is dented, wobbly, reconstructed, twisted. From their anthropomorphic fragility is born a resistance to conservatism that claims the right to be different, to be precarious, to fall. If they do not express it in the same way, but always with humor, whether cynical or nostalgic, Enrico Baj and Martin Kersels drop the masks that each of us wears, perpetrating a social comedy in which pretense and hypocrisy triumph.