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The Museum of Found objects welcomes you to a month of acquisitions, appropriation, art, and antiquity. In Urban Legends, Reniel wants to play with the notion that objects are simply objects. But in a world motivated primarily by markets, they are categorized by value (historical, cultural, and monetary) and some fall through the cracks and are never put on the same pedestals (if at all) as others.
Within these categorizations, objects can be cast off as second-rate or idolized through an exotified anthropological lens. Certainly, some objects will garner cult followings that understand the real merits in time, but until then they exist through those who choose to hold the knowledge of their existence and those who choose to tell the world of them—something short of a myth.
Along with sculptures, a collaboration with San Francisco Bay Area-based dancers Emma Lanier and Cauveri Suresh will be held on November 12th, 2022 throughout the evening. The dancing duo will be performing a movement piece involving works made by Reniel.
Through his body of work made through the Sonoma Ceramics residency, Reniel is not critiquing the artists themselves (for the most part), but how legacies are chosen and erased through almost arbitrary connotations of value through consumer markets, Eurocentricity, and privileges of race, gender, etc. The concept of institutions such as museums and public and/or private collections guiding the public’s tastes and exposure to artwork leads to many blind spots along the way. Many artworks will never be in the limelight to any degree due to a multitude of reasons—lack of immediate popularity, absence of understanding, or no funders being interested.
Whatever the reason, the riff created follows the individual works indefinitely. In the gallery, the artist uses this as an opportunity to combine and clash works from both ends into layered, comical, and albeit confusing combinations that critique the divide amongst objects that institutions build on rather than face and level out.