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Tarek Atoui. At-Tāriq
A Journey into the Rural Music Traditions of North Africa and the Arab World
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Organismo | Art in Applied Critical Ecologies
Independent study program, Year One
Organismo | Public program
Independent study program, Year One
The Ecologies of Peace II
The Ecologies of Peace II - Winter Mediation program
Otras montañas las que andan sueltas bajo el agua
Exhibition at Ocean Space - Venice
Echoes of the Sanctuary
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TBA21–Academy’s Ocean Space Wins Flash Art Italia Award for Innovation and Sustainability
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Fiona Banner
Parade, 2004

Installation view: The Ecologies of Peace. Works from the TBA21 Collection, Centro de Creación Contemporánea de Andalucía C3A, Córdoba, Spain, 2024. Photo: Imagen Subliminal (Rocio Romero y Miguel de Guzmán).
Fiona Banner
Collection

Installation view: The Ecologies of Peace. Works from the TBA21 Collection, Centro de Creación Contemporánea de Andalucía C3A, Córdoba, Spain, 2024. Photo: Imagen Subliminal (Rocio Romero y Miguel de Guzmán).
Installation view: The Ecologies of Peace. Works from the TBA21 Collection, Centro de Creación Contemporánea de Andalucía C3A, Córdoba, Spain, 2024. Photo: Imagen Subliminal (Rocio Romero y Miguel de Guzmán).
201 plastic Airfix models, twine, 21 cardboard boxes
Dimensions variable


An early fascination with fighter planes burgeoned into an essential facet of Fiona Banner’s artistic practice. Larger than life, these objects of war are awful and majestic, sentimental and strange, phallic in form and penetrative in function.

In Parade, 201 plastic models of fighter planes hung from the ceiling are imbued with a sense of urgency, masculinity, and seduction, existing somewhere between weaponry and ornamentation. Dramatically reduced from the immense dimensions of their original grandeur, the artist has assembled the models, yet left them devoid of the colors or markings, such as roundels, chevrons, and fin flashes, that might offer insight into their origin. As a departure from previous works, which often utilized text, Parade mutely conveys violent heroic narratives through harmless toys. The stripped surfaces are sleek and austere, frozen in flight, converting them into a fragile, decorative force. In this way, Banner is able to distort and trivialize the weaponry’s fatal reality through the illusion of control. –Alicia Reuter


*1966 in Liverpool, United Kingdom | Living and working in London, United Kingdom
 
http://www.fionabanner.com
Artist's Website
http://www.fionabanner.com
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Artists
Fiona Banner