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The exhibition takes its title from Carson McCullers’ novella ‘The Ballad of the Sad Café’, a narrative structured around unequal desire and unstable forms of community. In Fischli’s work, community appears as a condition shaped by access, dependency, and exposure rather than mutual belonging. The reference to McCullers frames the exhibition as an inquiry into how togetherness is organized and strained by economic and social arrangements that remain largely implicit.
The works originate from photographs Fischli took herself while moving through luxury hotels, primarily in Paris. These interiors are approached as material evidence of a specific historical formation: the aesthetic language developed alongside neoliberal capitalism. Hotels appear here as sites within an economy structured by mobility, financial abstraction, and the management of experience. Their stylistic coherence — neutral tones, curated atmosphere, contr…
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Press Release
The exhibition takes its title from Carson McCullers’ novella ‘The Ballad of the Sad Café’, a narrative structured around unequal desire and unstable forms of community. In Fischli’s work, community appears as a condition shaped by access, dependency, and exposure rather than mutual belonging. The reference to McCullers frames the exhibition as an inquiry into how togetherness is organized and strained by economic and social arrangements that remain largely implicit.
The works originate from photographs Fischli took herself while moving through luxury hotels, primarily in Paris. These interiors are approached as material evidence of a specific historical formation: the aesthetic language developed alongside neoliberal capitalism. Hotels appear here as sites within an economy structured by mobility, financial abstraction, and the management of experience. Their stylistic coherence — neutral tones, curated atmosphere, contr…
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