The artist whose technological enquiries into the the nature of objects have had a powerful influence on a younger generation of digital natives
Leckey might not be the only artist successfully engaged with current philosophical ideas around ‘triple-O’ (object-oriented ontology) – Helen Marten and Camille Henrot are two others who come to mind. But his sculptures, videos, installations and curatorial enquiries into the relationships between humans, objects and images are not only influential for being ahead of the pack, but for reflecting a deeper, more personal engagement with popular culture, art history and technology in a way that other artists do not. After a busy 2013, Leckey’s schedule has shown no signs of easing up. Following on from his show Mark Leckey: A Month of Making, at Gavin Brown’s Enterprise, New York, earlier this year, his current major retrospective, Lending Enchantment to Vulgar Materials, curated by Elena Filipovic, opened in September at Wiels in Brussels, accompanied by an extensive monograph, Mark Leckey – On Pleasure Bent, and featuring a new installation, UniAddDumThs, that will travel to Kunsthalle Basel next spring.