By considering the breakdown of the utopian imaginary in this manner Stanislav’s work precisely locates and interrogates the limits of human rationality. With this in mind the work of Andréa Stanislav revels, almost in a mood of resistance, in that most traditional of artistic dimensions: beauty. Limited as we are, fragile as bodies may be, her careful practice adorns the mundane with decoration, positioning it in works of considerable scale, letting them spin and glitter, millions of pristine points, fragments of faces and hopeful eyes.

Andréa Stanislav was born in Chicago, Illinois in 1968. She lives and works in Minneapolis and New York City. Andréa received a MFA from Alfred University in 1997 and a BFA from The School of the Art Institute of Chicago in 1990. She is a contemporary artist whose interdisciplinary practice includes: sculpture, video, installation and public projects and interventions. Her work interrogates global capital and popular culture via the unexpected -- with her multimedia installations and monumental sculpture.

Recent solo exhibitions and projects include: thisisnotashop, Dublin, Ireland; Minneapolis Institute of Arts, Minneapolis, MN; Packer Schopf Gallery, Chicago, IL; Jonathan Shorr Gallery, New York City, NY; 21c Contemporary Art Museum, Louisville, KY; Bemis Center for Contemporary Art, Omaha, NE; Burnet Gallery - Chambers Luxury Art Hotel, Minneapolis, MN and Northern Lights, Minneapolis, MN.

Her work has also has been exhibited around the world at venues such as: U.S (Ambassador’s) Residence, Stockholm, Sweden, Fieldgate Gallery, London, UK, Al Sabah Gallery, Kuwait City, Kuwait; Ormeau Baths Gallery, Belfast, Northern Ireland; Socrates Sculpture Park, New York City, NY; Weisman Art Museum, Minneapolis, MN, Santa Monica Museum of Art, Santa Monica, CA; John Michael Kohler Arts Center, Sheboygan,WS; Carriage Trade, New York, NYC; Dumbo Arts Center, Brooklyn, NY, and Land of Tomorrow, Louisville, KY.

Andréa’s public art commissions and projects locations include: Barcelona, Spain; Key West, FL; Weisman Art Museum, Minneapolis, MN; New York City, NY; University of Oregon, Eugene, OR; Morningside College, Sioux City, IA; and Washington DC.

Stanislav has recently received a Lower Manhattan Cultural Council -- Swing Space Artist Residency, Governors Island, New York City, NY; a 2010-2011 McKnight Artists Fellowship for Visual Arts; a GlogauAIR, Residency, Berlin, Germany; a Socrates Sculpture Park 2009 Emerging Artist Fellowship; Jerome/Franconia SculpturePark Fellowship; two prestigious Grant in Aid Research Awards from the University of Minnesota - Minneapolis; 2010-2011 University of Calgary International Visiting Artist Award, and she was the 2011 Can Serrat International Full Fellowship recipient, among many other awards.

Andréa is currently an Associate Professor in the Department of Art, University of Minnesota, Minneapolis, MN. Andréa also has a background in the film production and design as a designer and artist for Matthew Barney’s Cremaster Cycle films.

Theodor Adorno once said that ‘without the notion of an unfettered life, freed from death, the idea of utopia, of the utopia, cannot even be thought at all.’ If this is correct it lends a terrible irony to the fact that Man’s attempts to create ideal conditions for himself are so often mapped out through trails of carnage and destruction.

The work of Andréa Stanislav displays an acute awareness of this tension and offers a series of elegant yet challenging reflections on the limits and failures of the utopic imagination. Reflection is a key word in Stanislav’s lexicon, as it serves to indicate both the means and the ends of her artistic endeavor. In her work, the viewer is not simply invited but compelled, by use of reflective surfaces, to interrogate their own position vis-a-vis the artwork, and, by extension, vis-a-vis history and culture.

These surfaces, revealing the face of the viewer at every turn, and often to infinity, point to the futility of our attempts to escape our unsatisfactory current conditions and our desire to find meaning and impose structure on the underlying chaos of the Real. And yet at all times, the viewer is haunted by her own face.