SUBHUMAN INHUMAN SUPERHUMAN

Rick Owens’s respective SUBHUMAN INHUMAN SUPERHUMAN at the triennale di Milano showcases archival furniture, film and a large scale installation accompanied by items from Vicious, Dirt and Cyclops. The exhibition is entirely curated by Owens that has been given absolute creative freedom in the narration of his own story. A sense of indescribable enchantment lies at the heart of Owens’ creative universe in a combination of primordial forces and extreme modernity. The space, much like the sets of his fashion shows, is both industrial and organic. Abandoning all schemes and replacing them with visionary, sculptural creations. Stunningly elegant, refined, serene pieces highlighting the full range of his creativity he is Romanticizing discomfort.

Upon entrance, the exhibition fills the space with a handmade sculpture that twists grotesquely. Two columns of spotlights mounted on a scaffolding arch face off, creating a wall of light beams through which you cross. Icy-crisp winter daylight courses through high windows in the exhibition proper, which opens with a group of white-clad mannequins on raised platforms. Their dress is Rick Owens classical — draped, twisted and pleated Grecian robes queered with horsehair, beaten lambskin and outsize bugle beads. The atmosphere is cyber-temple breaking up the space, steering visitors and offering an earthy, abject counterpoint to such cherished qualities as beauty, elegance and refinement.

“ it’s more about something we all have in common. Primal urges, controlled urges and delusional motivations. They’re things I examine in myself. I’m always talking about my flaws: the flaws I forgive myself for, the flaws I used to punish myself for, flaws I can’t take too seriously anymore. It’s my journey but everyone goes through the same process of figuring out who they are. I thought Subhuman Inhuman Superhuman was a wonderfully robotic, clinical phrase that refers to the messy emotions everyone is trying to negotiate. I love how creepy it sounds.”