The rooms of the Madre museum contain a string of seductive and pointed transfigurations in works (video installations, sculptures, posters…) that are faultlessly topical comments on how objects foster desire via the way they are represented.
The exhibition prologue is dedicated to a recurring protagonist of Leckey’s works, the black and white cartoon cat Felix, present here in the form of a balloon sculpture (Inflatable Felix, 2013).
At this point of the exhibition, visitors have followed a triptych of objects of desire: sex, the technological object and the work of art – all shown by Leckey to be highly effective ploys.
The exhibition route then gives way to the now customary Fiorucci Made Me Hardcore and ends with vaguely landscape-like rooms featuring wood, rubber and cardboard casts of light pylons, overpasses and other suburban objects.
These spaces are dominated by the Sound System installation (2011–2012), which returns the focus to the centrality of music and Leckey’s operational model of the DJ set, and are illuminated by orange motorway lights.
The exhibition ends at sunset, in an affected melancholy that serves to heighten the compelling desire to dance, the beauty of the night make-up and the compact black of advert backdrops, from which floating forms awaiting “Next Level Perfection” (as written on the label of the provocative Pearl drum) might emerge.