VIP: Vacant Intellectual Property

December 18 - December 20, 2015

Press release

Inert is pleased to present Enzo’s VIP (Vacant Intellectual Property). The event is an international joint venture between Enzo (LLC) and Debora Delmar Corp, incorporating works by Ryder Ripps, Maayan Strauss, Justin Hodges, Eric Oglander, Sophia Le Fraga, with DJ Japanster and VIP swag by BLESS.

VIP is a party and installation curated by Enzo that plays with artistic and conceptual definitions of VIP, and the thresholds one must pass to enter into that social strata. The gallery will be divided into VIP and non-VIP zones, an innocuous but tangible distinction between party goers. Guests who aspire to be VIP can upgrade their status for a small emotional price. However, embedded within the party are loopholes that destabilize the power structure observed.

As a means of highlighting the strained interdependence between these stratas, a disco ball hangs above the VIP zone, but is anchored precariously in the non-VIP zone. Ultimately the non-VIPs control the good time of the VIPs, but if they choose to ruin the VIP experience, they destroy any possibility of joining that elite social order.

The show also highlights the absurdity of non-stop default content accumulation that is ostensibly discarded but never really deleted. Surveillance cameras document guests like auto-paparazzi, flooding the party with its own content and leaving piles of vacant intellectual property behind the velvet rope.

The morning after the party, unfamiliar stains, foggy memories, and questions come to light. The detritus of the evening will be reconfigured as part of the installation and will remain open through the weekend.

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Exhibition images

About

Enzo’s practice posits objects in ambiguous or unfamiliar contexts through interventions. Whether as bricolage sculptures of consumer objects (1-888-AZHKQOL, 2015) or a performative event (Free Parking, 2015), Enzo’s work pushes a particular idea or object until it reaches a loophole, where content is separated from context. The work consistently demonstrates the contradiction between semiotic structures’ perceived stagnancy and inherent flexibility. Enzo’s incorporation of pop culture elements into the work creates an intelligent oeuvre that is refreshingly candid, and as playful as it is provocative.