All posts filed under Past

[On-screen]: Newtoniana

ANDRÁS CSÉLVAY
12.10 – 15.11.2019  

Newtoniana – Differentiation, Integration and Culturing

 

The lighting is dark and

 theatrical.

 

                    NEWTON

 

The invention of the differential calculus as a mathematic device was born out of need for talking about hitherto undescribed motion. The change of change, or the rate of change. However, please allow me to allude to the terms derivation and integration to conjure a different story, simply because these words will be very useful to us.

 

 Why do we want to know? why are we so ready to describe change and then so often reluctant to let be

changed?

 

THE WORLD AS A WHOLE 

 

NEWTON

 

The world as a whole. (pause) It is

hard to imagine as its a statement against experience, but the world does not have parts. Reality is one. … Either a total continuum, or filled with fine undifferentiated grain, but still there is no different parts unless there is intention to see so.

 

AS A WHOLE – EXT.

 

detail with out Newton.

 

The fly on the leaf on the tree

over the dune can be referenced as many or as one, depending on the size of the viewer, and the intention of the information. Is there a microbial interest driving the infection in the flys brain to the tree to have parts? Is there a tree-dune a fly-leaf, or a tree-dune-leaf-fly?

 

Back to Newton

 

How important is it to fester a

sensitivity for the smallest of change. For the faintest of sound. Listen. 

 

The world is a whole. And to exist in it is: to make sense, to differentiate. To project parts into the one.

 

How do we make sense of it? I register the change. How this turns into that. How do metals communicate. (Alchemy. someone laughs at me from the future) What stars have to say. (astrology, haha) What is the shine of the sun. And where does god hide its face.(Religion haha.)

 

DIFFERENTIATION – EXT. Differentiation – subtitle

 

Sitting around a pile of stone. On the ground. Looking down and pointing at it.

 

                    NEWTON

 

 And the first thing is, give the

most useful names to parts.

 

I know this, this is a stone. These stones will make up the hill I make. They only have parts which I will find useful to name. And when others come after me, they might agree upon parts unseen to me with senistivity yet unimaginable to me.

 

Placing multiple cuts through the fabric of world is not relativism. It is just asking questions. What

technology guides us, who is our

messenger, what angel, who brings us news of the thing afar.

 

This is the story, these are the actors. Stones, flys, trees, gravitational constants, trajectories. And now we know now. There is immediate action through space. We can be touched from afar.

 

INTEGRATION

 

NEWTON

 

A new sensibility enters the stage.

 

A new resolution to test the world.

 

I present my sensitivity, my differentiation to you, my friends, to all of you. And now we must deal with this: what do we make of it.

 

Are we able to integrate this into our life? Are there new and better stories that arise from my narrative? Or does my story freeze motion, and dull us, am I boring, and no-one can use my thought.

 

The preciousness of the new knowledge is not in its differentiation grain fineness. It is in its integration potential.

 

I can invent mathematics and geometry that would make the world seem flat (I am newton after-all). But what use am I getting from that?

 

CULTURE

 

Darkness theatricality.

             

NEWTON

 

There is no immediate access to the

whole. By what power anyway? It requires a kind of humility that the differentiation I make in the

world is my own creation and

reality both at the same time. But as any good creator, I must be open to the feedback of others. There is no change, there is nothing that can be learned without the risk of being changed irreversibly.

 

Lets call the balance of the fineness of differentiation and the cooperation value of its integration: culturing.

While it is possible to culture in many ways, it is a matter of intent with what actors do I tell the story of the world.

 

So I am asking you self, am I good?

 

Am I a good person?

 

Have you lost your mind Isaac? You seem to speak of a kind of relativism, embedded in a non-accessible reality, and yet you talk of goodness?

 

Even when I talked about integration value, it kind of sounds like utilitarian down to earth dirty relativism, but in fact it is guided by the utter utopian common good that is beyond compromise. Beyond what people, and animals, insects trees lakes stones and planets decide.

 

We must say this together: in a world without facts, only goodness remains.

 

András Cséfalvay, Newtoniana, 2018 [still] Video, 9’42”

András Cséfalvay, Newtoniana, 2018 [still] Video, 9’42”

András Cséfalvay, Newtoniana, 2018 [still] Video, 9’42”

András Cséfalvay, Newtoniana, 2018 [still] Video, 9’42”  

 

András Cséfalvay, Newtoniana, 2018 Video, 9’42”    

 

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SWAB

Barcelona Art Fair
26 – 29.09.2019

Press Release

The exhibition project of this booth revolves around the dynamics of perception of the individual and of the relations with the other. In a present that imposes to often renegotiate the terms of one’s own private space, the fulfilment experience can’t do anything but redefine the perimeter of its own intimacy. The very concept of identity extends its boundaries towards new gratification conditions, being stuck in the opposition between singularity and multiplicity, pleasure and deprivation, private and shared.

The booth opens to a dialogue between the works of young Belgian artist Benny Van den Meulengracht-Vrancx and a work of the controversial Swiss artist Urs Lüthi, with a modality that rethinks some aspects of one of the latest exhibitions presented at Soyuz, “Unders”. In doing so, the project aims to present to the fair also one of the exhibition concepts that underlie the research carried out by Soyuz – to set-up courses that allow young artists to measure themselves against established ones, in new ways and helping provide further interpretations of the present.

The project includes a series of middle-sized ceramic sculptures by Benny Van den Meulengracht-Vrancx, put on the floor.
His sculptures are ever-changing polymorphous entities, stretching between what they are and what they aim to become. The work explores the process of relations with the other and the reactions thus generated, hanging in the balance between two opposites – an approach that sometimes searches for the close encounter through the act of “looking” and other times shuns it through the act of concealing, hiding behind a mask.
The same could be said for the work of Lüthi, but in a slightly different way: his self-portrait is, as a matter of fact, part of a work that guides us towards the awareness of a duality that is both vanitas and disguise, a tension that scatters any absolute certainties of identity.

 

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Bilingual

KALLE LINDMARK, SIGGI SEKIRA
Curated by Domenico de Chirico and Marialuisa Pastò
Text by Emiliano Aversa
Opening 27.07.2019
28.07 – 6.09.2019

 

SOYUZ is pleased to present “Bilingual”, a two person show presenting new works by Kalle Lindmark and Siggi Sekira – for the first time in Italy.
Curated by Domenico de Chirico and Marialuisa Pastò.

 

Tongue, from Old Latin dingua, has no compound etymology, thus proving its primeval essence.
There it is, among the taste buds, that ray of meaning, there it is, blended with saliva, the great logos.
You can feel the drool in the air; see the filaments through the space.
The word tongue, however, has something in common with the Latin word lingere, magnificent act of softly licking, equivalent of brushing but with the tongue.
Ah, this red, recalling the flesh more than how blood does!
These canvases seem to offer soaked, wrapped flesh. Plates without meat, exposed and wrapped up, veiled. And the lingere recurs, from one side of the canvas to the other, from one part of flesh to the other. Maybe this veiling, this covering drool tickles the nymphs? Maybe they too, veiled, claim to be chrysalises?
Black are the nymphs by now like insects, the maidens abandon the veil, the whiteness belonged to the cocoon but the drool is still on their pointy tongues. Because nymph is also an alteration of mucous lymph. And they crawl and splash and crawl and so they play with those drooling filaments.
But the chrysalises live a never-ending change.
Maybe the last stage of this dance is the snake? It, too, slowly crawls like the act of softly licking and its tongue is forked.
Maybe the final stage is a double tongue? Bilingual? Two tongues, two drools, and thus two dialectics.
But isn’t dialogue the form of comparison that brings together most or that more than anything else reminds the common origins of the two speakers?
Again: hi, ray! Hi, logos!
Slick circle.

                                                                                                                                                                                                           – Emiliano Aversa

 

Bilingual, 2019, exhibition view

Bilingual, 2019, exhibition view

Kalle Lindmark, Soft Several, 2019
Oil on linen, 32 x 35 cm

Kalle Lindmark, Soft Several, 2019
Oil on linen, 32 x 35 cm

Siggi Sekira, Her Needle Flashing Straight, 2019
Glazed stoneware, 43cm x 13cm x 11cm

Bilingual, 2019, exhibition view

Bilingual, 2019, exhibition view

Bilingual, 2019, exhibition view

Siggi Sekira, Without a Penny to her Name, 2019
Glazed stoneware, 90 cm

Siggi Sekira, Without a Penny to her Name, 2019
Glazed stoneware, 90 cm, detail

Kalle Lindmark, Bath, 2019
Oil on linen, 170 x 140 cm

Kalle Lindmark, Bath, 2019
Oil on linen, 170 x 140 cm

 

 

 

 

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The Yellow Mill

PHILIP SEIBEL

9.3 – 12.4.2019

 

Objects from our daily lives, poor materials, objet trouvé, but also fetishes that, when contaminated with the cold rigor of artificial elements, lose their original functions to rediscover the generating power of their memory.
Objects that become images, sculptures, experience, time and thus read in the present the signs of their own past.

 

In the works of Philip Seibel, time is relived through the opaque filter of nostalgia. To put it differently, nostalgia makes the past beat with life, distancing it from the automatism of the perception of present.

 

Through an approach that combines traditional techniques such as woodturning, marquetry or faux-bois painting with more contemporary ones like industrial paints and manufacturing, Seibel experiments with a kind of practice that favors the process of doing.
He investigates the intrinsic qualities of materials, giving his structures a transient nature that catches them in the limiting grip between freedom and constraint. The impulse of retrieving the lost time of things combines with the technic ability and the taste for formal composition.

 

The Yellow Mill gets its name from one of the exhibited works: an everyday object of our present, a quality finish air conditioning unit, which secretly hints at the sobriety of a design piece from the ‘80s, while also bearing on its surface the indelible marks of the life it has lived.
Similarly, the drawings, embellished with natural elements and extracts of organic structures, emit the aura of something distant, forced into the limited and artificial space of an ordinary and unremarkable support that is an office board.

 

In this fragile intimacy, the object extends beyond the limits of self, defining its own intrinsic triviality in an atmosphere of magic oddity.

 

Seibel’s works feed on a disturbing tension where layers and distances mix. Intersecting between past and present, they fall into the paradox of the folds of time, just like that painting, busy with sounds, voices and noises, that is the contemporary metropolis of which these works intercept the contradictions. A kind of duality that generates from the forced sum of old and new, suspended in the balance between the consumed romanticism of history and the draining frenzy of these days, which ends up altering history’s features.

 

His sculptures shape up to be props of a mise en récit of which they develop a plot, sometimes giving back a false clue or revealing a mystery.
The silent transformation that overcomes the immobilism of their “being object” is the result of the fragmented unity of echoes of other ages. The effect of these reminiscences on the present is what redesigns the history of the objects, in a way that makes them almost shortcuts in time – not time that wears out, but one the endures. Time that brings together the hybrid interval of their presence with the pure duration of their permanence.

 

– Marialuisa Pastò

Installation view

Untitled, 2016-2019, pencil on A4 paper, magnets, display case, LED lights

Untitled, 2016-2019, pencil on A4 paper, magnets, display case, LED lights

Installation view

Installation view

Installation view

Radiator (The Yellow Mill), 2019, 104 x 30 x 20 cm, Mdf, found and altered wax relief, PUR paint, UP resin, oil paint, screws

Radiator (Columns), 2019, 106 x 32 x 21 cm, walnut wood, mdf, veneer, PUR paint, UP resin, speaker cloth, stainless steel vent cover, screws

Radiator (St.M.A.), 2019, 86 x 30 x 18 cm, Mdf, faux-bois panels (oil, pigment and lacquer on mdf), PUR paint, radiator grilles, screws 

Radiator (The Yellow Mill), 2019, 104 x 30 x 20 cm, Mdf, found and altered wax relief, PUR paint, UP resin, oil paint, screws. Detail

Radiator (Columns), 2019, 106 x 32 x 21 cm, walnut wood, mdf, veneer, PUR paint, UP resin, speaker cloth, stainless steel vent cover, screws. Detail

Radiator (St.M.A.), 2019, 86 x 30 x 18 cm, Mdf, faux-bois panels (oil, pigment and lacquer on mdf), PUR paint, radiator grilles, screws. Detail

 

 

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Unders

BENNY VAN DEN MEULENGRACHT-VRANCX – GIUSEPPE DESIATO – VANESSA GULLY SANTIAGO – URS LÜTHI – FREDERIK VAN SIMAEY
Curated by Marialuisa Pastò

22.07 – 7.09.2018

 

SOYUZ is glad to present “Unders”, group show with works by Benny Van den Meulengracht-Vrancx, Giuseppe Desiato, Vanessa Gully Santiago, Urs Lüthi and Frederik Van Simaey. Curated by Marialuisa Pastò.

 

The aspiration of the individual towards a state of gratification is an instinctive phenomenon.

Impulse generates desire, the appetite abandons itself to the need – longing towards a fulfillment that, even in deprivation, meets the pleasure of the denied object.

As a matter of facts, there is a certain satisfaction in sacrifice, a certain relief in abstinence. Impulse and deprivation refer to one another, because both imply the tension towards an object of satisfaction.

But fulfillment knows conditions that pleasure ignores.

 

It is the strenuous and paradoxical result of shifting borders, often found in the space between public and private.

Constantly divided in the opposition between singularity and plurality, the experience of fulfillment requires a hedonistic indulgence that often collides with the homologative direction of the common sense.

Unders displays the symbols of a private, intimate and silent ritual; stuck in the dichotomical limbo between instinct and reason, the characters of the exhibited works speak of an atavistic and dark depth. They are hanging in the balance between research and fulfillment, caught in the rest of waiting before the action.

 

A prime example of this is the drawing of Vanessa Gully Santiago: the dark and disturbing atmosphere of her works stylizes the private dynamics of intimate submission, control structures and female sexuality, of which she examines conflicts and psychological conditions. Pleasure and deprivation appear here as two opposite and complementary conditions, that resolve in the uncertainty between attraction towards the first and longing towards the latter.

 

In the work of Giuseppe Desiato, provocation dissolves in an exuberance of meaning in which eroticism achieves a dreamlike and spectral vision that praises the cheeky uncovering of a castrating moralism.

The identity clarification in Urs Lüthi’s work, on the other hand, drives us towards the awareness of duality, vanitas and masking at the same time, thus dismantling the univocal certainty of identity.

 

The result is not just the abstraction of the face. The characters of these works also deprive us of time, creating a space between day and night, light and shadow – as is clear in Frederik Van Simaey’s work.

 

And it’s exactly between here and there that everyone’s desires and unconfessed impulses reside; Benny Van den Meulengracht-Vrancx’s sculptures are ever-changing polymorphous entities, stretching between what they are and what they aim to become.

Through what we might describe as a contemporary translation of the great romantic theme of Infinity, the subjects of the works project their vision towards an impalpable indistinct. Oriented towards undefined distances, they preclude us from the object of their contemplation. Excluding us from that limitless and hazy world of the territories of their seeing, they embrace a kind of otherness that we can’t know.

 

They unfold in the shape of private biographies that find their voices in silent monologues and that – in the privileged narrative space of self-representation – favor the return to the other, looking for a residual empathy.

 

Absorbed in the unlimited desire of inhabiting the shadows of their deepest fantasies and at the same time of reconnecting to a shared wholeness, they embody that derangement of the look that finds in the private the enraptured shelter of the mysteries of their inner life.

 

– Marialuisa Pastò

Unders, 2018, exhibition view

Giuseppe Desiato, 1974, performance, printed onto photographic paper

Unders, 2018, exhibition view

Unders, 2018, exhibition view

Unders, 2018, exhibition view

Urs Lüthi, 1976, performance, self-portrait

Unders, 2018, exhibition view

Unders, 2018, exhibition view

Benny Van den Meulengracht-Vrancx, Borne knight, 2017-2018, ceramics

Unders, 2018, exhibition view

Unders, 2018, exhibition view

Vanessa Gully Santiago, Staircase, 2015, pastel on paper

Benny Van den Meulengracht-Vrancx, Borne knight, 2017-2018, ceramics

Urs Lüthi, 1976, performance, self-portrait

Frederik Van Simaey, They Have The Watch But We Have The Time, 2012, lambda print mounted on aluminium

 

 

 

 

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L’esule e le Grazie

WILHELM VON GLOEDEN – VIVIAN GREVEN

Curated by Marialuisa Pastò

24.2 – 30.3.2018

 

SOYUZ is pleased to present “L’esule e le Grazie”, an exhibition that brings together works by Wilhelm von Gloeden and new works by German artist Vivian Greven – for the first time in Italy – curated by Marialuisa Pastò.

 

There is no presence without absence.
We could even argue that the latter sharpens every visual manifestation, because it exists only in relation to a presence that makes it evident.
Much of the intrinsic power of the very concept of universality owes its existence to something that is actually absent.
From this perspective, loss becomes the space where real and ideal meet, blending into each other. The place where the form becomes eternal and only Beauty can reveal its truth.

 

“Beauty is the only thing that time cannot harm. Philosophies fall away like sand, creeds follow one another, but what is beautiful is a joy for all seasons, a possession for all eternity.” – wrote Oscar Wilde.

 

The most sublime absence is the one that legitimise its presence in the form of the past, to which the concept of beauty is origin and essence.
Even though it recurred throughout time in various forms, the past always implies the sense of the Arcadian return to that untouched world lived in the golden age of Classical Civilisation, which in turn becomes measure for present experiences.
The Greeks deemed that beauty had ontological foundations and searched for its expression in nature and particularly in the human body – the most noble and high of the natural beings – with the inevitable erotic and sensual aura that distinguishes it.

 

Looking to von Gloeden and Vivian Greven, the spirit of classical art seems to walk along the perceptions of our time.

 

The firm and primitive beauty of the subjects of the German photographer reminds of the still poses of Classical Greek sculpture. Stripped of any additional ornaments, the models reach their essence in the perfection of their muscles.
Magna Graecia’s loyalty to light, tableau vivant in the open air, and the evocative atmosphere that frames them pay tribute to the myth dimension. The decorum of the ephebes – even when implicitly vain – makes the body the place of their own representation.
These are images of voluptuous bodies – of some kind of disturbing voyeurism – that praise a triumphal youth.

 

“It’s Ellade, its ancient ideal of beauty, which lives on […] in those bodies that look carved like Greek sculptures.” – wrote Peyrefitte.
In Gloeden’s images (1856 – 1931) they become arcane beings that live in the dimension of possibility. They are ideal models in the enchanted and metaphysical atmosphere of Taormina, “the last phase of a Mediterranean dream where one can reconnect with lost unity” – as the Island is described in “L’Exilé de Capri”.
In the words of the very same Roger Peyrefitte, written in its “Les Amours singulières”, baron von Gloeden says: «The whole history of Italy, Sicily and Greece, in one word the Mediterranean, was summed up in Taormina […]
I stood on the Acropolis of Beauty».

 

In the works of German artist Vivian Greven (*1985), classic aesthetic ideals chase one another on the canvas, appearing as composed gestures and harmonic elegance of the forms.
The majesty and kindness of her subjects remind as much of the Olympic Greek sculptures as of Canova’s aesthetics. The soft and discreet lines that shape her faces embody the internal tension that underlie Winckelmann’s neoclassical postulates, which he himself used to describe as “noble simplicity and quiet greatness, both in posture and expression” (“edle Einfalt und stille Größe”).
Greven’s Graces stand as untouched creatures that answer to the principles of the purest classicism: objects of an ideal, universal, eternal beauty.

 

The subjects of the works presented in this exhibition define the ability of the sign to convey meaning to the form – ideal models legitimised in the space of all times, which is per se outside of time.
The beauty of their untarnished perfection tells the absence of discontinuity of past references to present experience, in turn reinforcing their original greatness.

 

– Marialuisa Pastò

 

 

Baron Wilhelm von Gloeden (1856 – 1931) was born near Wismar, on the Baltic Sea.
Poor health in his early twenties brought him to seek the warmer climate of Taormina, in Sicily. From there he traveled often throughout Italy. His works from 1880s onward were traded publicly without scandal. But after his death, the fascist Italian government raided and destroyed many original negatives on the charge of pornography.

 

Vivian Greven, (1985, born in Bonn, Germany). Lives and works in Düsseldorf.
Selected solo and group shows include: Stein, Susanne Neuerburg, Hennef, DE (2018); BUDUMN, Setareh Gallery, Düsseldorf, DE (2017); GRAZIA, Aurel Scheibler, Berlin, DE (2017); Eyes Wide Shut, STRABAG Kunstforum, Vienna, AT (2017); Ghost, Setareh Gallery, Düsseldorf, DE (2016); False Head, Galerie Thomas Fuchs, Stuttgar, DE (2016); Die große Kunstausstellung NRW, Museum Kunstpalast, Düsseldorf, DE (2016); Ping Pong, Sittarder Straße, Düsseldorf, DE (2015); Young Positions, Galerie Heinz Holtmann, Cologne, DE (2015); Holy Shit, Ruelle, Mainz, DE (2015).

 

L’esule e le Grazie, 2018, exhibition view

L’esule e le Grazie, 2018, exhibition view

L’esule e le Grazie, 2018, exhibition view

L’esule e le Grazie, 2018, exhibition view

L’esule e le Grazie, 2018, exhibition view

L’esule e le Grazie, 2018, exhibition view

L’esule e le Grazie, 2018, exhibition view

L’esule e le Grazie, 2018, exhibition view

L’esule e le Grazie, 2018, exhibition view

Vivian Greven, Acuae, 2018, plaster, 20 x 23 x 38 cm

L’esule e le Grazie, 2018, exhibition view

L’esule e le Grazie, 2018, exhibition view

Vivian Greven, Acuae, 2018, plaster, 20 x 23 x 38 cm

Wilhelm von Gloeden, Le Faune, 1898, epreuvè argentique, 22 x 16,5 cm

Wilhelm von Gloeden, Le danse Amà, 1904, epreuvè argentique, 17 x 12 cm

Wilhelm von Gloeden, Les garçons sur le rocher, 1899, epreuvè argentique, 22,5 x 16,5 cm

Vivian Greven, Untitled (Grazia), 2017, oil and acrylics on canvas, 55 x 50 cm

Vivian Greven, Diptychon (untitled), 2018, oil on canvas, each 55 x 45 cm

Vivian Greven, VV IX, 2018, oil and acrylics on canvas, 55 x 45 cm

 

 

 

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Tomorrow Is Obsolete

JOACHIM COUCKE – NICOLAS PELZER

December 2 – 30, 2017

 

 

 

Tomorrow is Obsolete. By putting tomorrow in the past tense, the show that gathers artists Joachim Coucke and Nicolas Pelzer tells us about a world where digital technology, Internet and social networks are not a projected and fantasized image anymore, but a physical envelope. Between abandoned vestiges and morphology of data, both their works try to restore a physicality to the immaterial.

 

Today the world dreams about an artificial and superior intelligence which would manage our stewardship, granting more time for us, more options? In fact, Tristan Harris, a former product philosopher at Google affirms the absolute opposite : “Thousand of hours are just stolen from people lives”. This principle of dispersion which makes us waste our time and vanishes our first intentions by moving them permanently, replaces the cult of technology at the heart of its first question: what it contains, what it produces, what remains of it.

 

To the digital which the representation would be obsolete today, Joachim Coucke and Nicolas Pelzer oppose the material, the physical barrier of a world the body naturally comes to stumble against. The body yes, a crucial unit of measure here, because it is about bringing everything back to a human scale. What becomes the appearance of a world whose data is deprived of forms? Would Internet have profoundly changed the aesthetics of what surrounds us?

 

From here on out, both artists propose a morphology of the technology. Joachim Coucke’s wall installations sculptures present in at the same time opened and locked crates, the archeological content of a used system. The anarchic mixing of the elements put forward the damaged relationship between the material life and the digital practices. feeds, made of hundreds of cables, which drip from the ceiling to the ground and make knots then. Unlike its claimed full discharge principle, the data’s combination circulation leaves at the time of the digital the physical traces of a discomfort, the remains of a movement which lost its fluidity. In his technological timeline, Nicolas Pelzer thinks about the evolution of forms and tools in the context of the digital, simulated here by an algorithm which recreated from a 3D software on a fabric surface in 3D print the traces of a prehistoric stone’s use. In the same way, his aluminum lamps take back an invention of the 19th century through the recent technology of the laser cut.

 

As reincarnated carcasses, these envelopes are the physical realization of a state that we experiment in our daily lives, stuck between the promises of the progress and the fragility of our consciousness seduced by the advertising, the notifications and the simplified uses. A digital world seen as a material of yesterday, archeological instrument, document of historic study and homemade shape, scrutinized and remodeled to collect and extract from it the esthetic power of an exhausted post-internet representation.

 

Elisa Rigoulet

 

 

Nicolas Pelzer, Collider Body – Flint, 2017 – Latex print, aluminium, 100 x 70 x 3 cm each

 

Joachim Coucke, Containing The Future – Anxiety Filter, 2017 – Mixed media, 60 x 40 x 35 cm

 

Joachim Coucke, Containing The Future – Anxiety Filter, 2017 – Mixed media, 60 x 40 x 35 cm

 

installation view

 

installation view

 

Joachim Coucke

Containing The Future – Algorithmic Discomfort, 2017 – Mixed media, 60 x 40 x 35 cm

Containing The Future – Face Off Time, 2017 – Mixed media, 60 x 40 x 35 cm

 

installation view

 

Nicolas Pelzer, Collider Body – Flint, 2017 – Latex print, aluminium, 100 x 70 x 3 cm

 

Nicolas Pelzer,

Evolving Masters #13, 2017 – Anodized aluminium, led light bulb, rope cable, lamp socket

Evolving Masters #12, 2017 – Anodized aluminium, led light bulb, rope cable, lamp socket

 

Joachim Coucke, Containing The Future – Algorithmic Discomfort, 2017 – Mixed media, 60 x 40 x 35 cm

 

Joachim Coucke, Containing The Future – Face Off Time, 2017 – Mixed media, 60 x 40 x 35 cm

 

Nicolas Pelzer, Collider Body – Flint, 2017 – Latex print, aluminium, 100 x 70 x 3 cm

 

Nicolas Pelzer, Collider Body – Flint, 2017 – Latex print, aluminium, 100 x 70 x 3 cm

 

 

 

 

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Movement As Parresia

EMILIANO AVERSA

October 14 –  28, 2017

I, M & P

I. Hi M and hi P.
Where are you at the moment?

M. There is no space.

P. I’m where the steel steels itself. For M there aren’t options left. But M, you have a location, right?

M. Yes, but no space.

I. What’s the location?

M. It’s not about you being in the hotel’s lobby right now and it’s not about the hotel’s position. This is not a fact.
The delocalization of “here”
The delocalization of “here”
The delocalization of “here”
The delocalization of “here”
The delocalization of “here”
The delocalization of “here”
The delocalization of “here”
The delocalization of “here”
The delocalization of “here”

P. It’s where the water moves itself at its best.

M. What means space and what means repetition? I have no idea.

I. And the tension between elements?

P. It’s the drool.

I. Yes, every tableau calls a drool.

IMP. The drool goes on!

I = Interviewer
M = Movement
P = Parresia

Emiliano Aversa

Emiliano Aversa works exclusively with the medium of video.
His works can be seen as real video tableau: spaces in which the image occurs.
In his work he tries to activate a process of involution or repurification of the concept of pure cinema, considering its historical evolution in search of an a priori in which the moving image reveals itself for what it is. An aurora that Aversa calls “Cineflex:” a “cine” reduced to the bone that in looking for its own movement flexes, flexes the movement, brings it back to its origin, and reiterates it.
Such a creative approach takes the infinite expressive modes that the moving image brings with it into account; and such freedom indifferently includes the use of abstract or representative images that consequentially lose their character as fixed elements, becoming their own movement, evolving within a space where spatial editing gives time to space and vice versa.
Duration, evolution, rhythm, quietness, acceleration, obsessive repetition, moving painting, thing concept, time not as general time but as the flesh of the video and space intended as duration are characteristic features of his works – praise of the surface.

Evolution food, 2016, exhibition view.

Evolution food, 2016, exhibition view.

Evolution food, 2016, Full HD video color, loop, aluminium frame, diplay dimension 24 Inch.

MPH(otel). Yes, this shape scratches the face, 2016, exhibition view.

MPH(otel). Yes, this shape scratches the face, 2016, exhibition view.

MPH(otel). Yes, this shape scratches the face, 2016, Full HD video color, loop, aluminium frame, diplay dimension 32 Inch.

Exhibition view.

Exhibition view.

Hippoflytta, 2017, exhibition view.

Hippoflytta, 2017, exhibition view.

Hippoflytta, 2017, Full HD video color, loop, aluminium frame, diplay dimension 55 Inch.

[ Selected Press ]

→   TZVETNIK

→   ARTVIEWER

 

Talisa Lallai

online

September 10 – 23, 2017

 

 

 

Paper Moon

KALLE LINDMARK – KAH BEE CHOW

Curated by Domenico De Chirico

May 10 – 20, 2017

La stanza sul Mare – Pescara – design by Studio ZERO85

 

 

SOYUZ is proud to present “Paper Moon”, two-person show by Kalle Lindmark and Kah Bee Chow, curated by Domenico de Chirico.

I’m working with painting as a tool for (indirectly) giving obscured areas and domains visual appearance. The non-linear qualities connected to the medium, and the possibility to closely utilize intuition — intuition as a form of knowledge just not accessible through the spoken or written language — makes painting a way to nuance such areas. And as painting can activate a kind of dynamic seeing in the viewer; addressing the body, memories, experiences, tacit knowledge, intuition etc. i find that we are sensitive receptors to hidden messages, peripheral areas and other unspeakable things.

 

Kalle Lindmark lives and works in Malmö, Sweden.

I work with forms of enclosures in relation to animals and the human body – driven by divergent lines of imagined narratives and information flows. I think of enclosures here as architectural, visual modes of surveillance: ways of visually tracking and monitoring bodies in a defined space. I think of enclosure, here too, as evasions of surveillance, as possibility for recess and shelter: a private chamber in which to take rest, the seeking of refuge in a fortress, a folding into the ether.

For me, these considerations are inextricable from my process of making, how physical materials behave – the weight and density of a concrete cast, the reflective properties of a plastic surface, the lines of architecture. In the encounter, the primary form of address is the body in space, a composition of lines striving to register an array of psychic resonances within the space.

 

Kah Bee Chow lives and works in Malmö, Sweden.

 

ph Sergio Camplone

 

Installation view 

Kah Bee Chow, “O”, 2017, wood, paint, lacquer, plastic string, masking tape, foam

Kah Bee Chow, Nej, 2017, wood, paint, lacquer, plastic string

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Installation view

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Kalle Lindmark, Fortress, 2017, oil on canvas

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Installation view

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Kalle Lindmark, Fortress, 2017, oil on canvas

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Kalle Lindmark, Fortress, 2017, oil on canvas

©sergiocamplone_SOYUZ_Paper Moon-9

Installation view

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Kalle Lindmark, Fortress, 2017, oil on canvas

Kah Bee Chow, 🔲, 2017, Vinil

Installation view

 

 

 

 

 

[ Selected Press ]

 

→  TZVETNIK

→  THE KINSKY

→  AQNB

→  KUBAPARIS

 

All As Long Distance Neighbours

HANAE WILKE – VIVIEN ZHANG – PETER MOHALL+ graphics & sound by NORMAN ORRO / MUSIC FOR YOUR PLANTS

Curated by Marialuisa Pastò
25.02 – 21.03.2017

In statistics, the notion of Dispersion denotes the extent to which a distribution is stretched.
Standard Deviation is the most commonly used measure of dispersion and it plays a key role also in the explanation of some physical phenomena, such as – in accordance with the Fluctuation theory – the reason why the sky is blue.

Dispersion is also a distance measure basically by contrast with location or central tendency and when it manifests itself through a perspective of non-coincidence, it figuratively takes on the meaning of proximal presence. Along these lines, it can be also translated into our collective life experience in a way that legitimises its truth as strategy of being in the world.This dispersion tendency belongs to our modernity as a way that captures the paradoxes of our time and the risk of a collective alienation. The rich potential provided by the digital tools, that make communication accessible to the multitude without the use of the body, generates new forms of closeness in which inner and outer, self and other, are constantly subverted. Therefore, much of the power and meaning of this kind of togetherness owes its existence to something that is de facto absent.

Recalling Bahuman, it is safe to say that the easiness of the connections has changed the experience of social space to such an extent that it is no longer defined by a territorial proximity, but rather, on the contrary, by the innate and human inclination to secure our own borders. The alteration of the social space notion also drags the mutation of the experience of time. It follows an immersion into the present that leaves behind the experience of the duration itself.Far from that kind of active presence to the mankind affairs assumed by McLuhan,  it is possible to recognise that the participation in a narrow sense has been replaced by its digital simulacrum, generating a kind of social cohesion that finds its very substance into its own reproduction.

The exasperation of such dynamics has fabricated a new age of narcissism which, making a self-centred human being so socially acceptable, easily ends up falling into a form of social competition: we perceive ourselves as dissociated from “the other” and Self-determination appears the only value and the exclusive criterion of every other determination.

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Norman Orro – Vinyl graphic

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Hanae Wilke, Underbelly, 2016, 63 x 65 x 4 cm, steel, house paint, leather

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Hanae Wilke, Echo, 2016, 95 x 100 x 4 cm, steel, house paint

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Hanae Wilke, Epiderm, 2016, 75 x 75 x 4 cm, steel, house paint, leather

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Vivien Zhang, Paths Stamper nmn, 2017, mixed media on canvas, 56 x 51 cm

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Vivien Zhang, Paths Stamper nmn, 2017, mixed media on canvas, 56 x 51 cm (DETAIL)

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Installation View

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Vivien Zhang, Velvet Murmurs, 2016, oil and acrylic on canvas, 160 x 140 cm

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Peter Mohall, Sculpture from the Foam Roller Totem series, 2017, Detail

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Installation View

[ Selected Press and Links ]

→  AUJOURD’HUI

→  TZVETNIK

→  SCANDALE PROJECT

→  MUSIC FOR YOUR PLANTS

→  SOUNDCLOUD/MUSIC FOR YOUR PLANTS

→  YOUTUBE/MUSIC FOR YOUR PLANTS