ANGELS OF THE WONDERFUL WORLD OF DISSOCIA
GEORGINA HILL, PEPO MORENO, PAUL CREANGE, LULU WOLF, GARDEN OF BRUCE, ILYA FEDOTOV-FEDOROV, ARCHIE CHEKATOUSKI, ALEKSANDR GORDEEV, ALEX SCHULZ STECKMAN AND SK FLORES
FEBRUARY 08
— MARCH 18, 2022
— MARCH 18, 2022
The exhibition studies the issues of a new era of meta-universes and anatomy of everyday things and of visual concepts, based on cognitive art aspects, which define the correspondence between perception and external reality. They are balloons, they are flowers, they are clothing. Angels are unanthropomorphized.
The title of the exhibition has been borrowed from the play written and directed by Anthony Nelson in 2007. In Wonderful World of Dissocia, Nelson depicts Lisa’s contrasts —the protagonist— between her dream-like imaginary life and her post-dream-like imaginary life.
Pepo Moreno and Garden of Bruce (Bruce Costa and Innokentiy Makarov) are providing us into a biological, natural world associated with a simple, essential living existence as a flower.
“And your blood continues to push itself around your limbs while your brain remains suspended.”
Julia Morgan, Dissocia
Julia Morgan, Dissocia
Georgina Hill connects human and machine, bringing us into a realm where the limits between intimacy and banality, security and emancipation blur, thus enabling new forms of sensitivity towards complex ecologies.
Ilya Fedotov-Fedorov films an androgyne person dancing with an octopus referencing a bat, disaccording to a biological determinism. SK Flores & Alex Schulz Steckman are two digital personas existing and holding time in a looping video installation. Through an expression of sisterly love and a visualisation of continuity, they create an uncanny moment that can persist in time perpetually. Using various objects related to the art of drag, Alex Schulz Steckman creates physical and figurative tension that speaks to human existence through a semi-political lens.
Lulu Wolf was working with images and videos of starling murmurations – these are the beautiful, undulating cloud or smoke-like 3-dimensional forms in the sky created when groups of hundreds or thousands (or millions) of starling birds fly together. The murmuration appears and also behaves as a singular organism, both offering protection and disseminating information about their environment (such as nearby predators) from a singular bird through the entire group almost simultaneously.
Paul Créange’s work is elaborated around a dialectical tension between the language of sculpture and that of the photographic image. Most of the materials he uses come from reuse, which, beyond the anecdotal, determines the form and meaning of his latest works. The sculpture tries to gather fragments and to reintegrate them into an organic formal unity – while exposing the paradoxically artificial character of this precarious pseudo-organism, whose entrails and structure can be seen, and even the links that alone allow it to hold in place.
Paul Créange’s work is elaborated around a dialectical tension between the language of sculpture and that of the photographic image. Most of the materials he uses come from reuse, which, beyond the anecdotal, determines the form and meaning of his latest works. The sculpture tries to gather fragments and to reintegrate them into an organic formal unity – while exposing the paradoxically artificial character of this precarious pseudo-organism, whose entrails and structure can be seen, and even the links that alone allow it to hold in place.
Touchingly silly and beautifully simple, this is how Archie Chekatouski and Aleksandr Gordeev’s work could be described. Familiar objects, that would go unnoticed in their original context, are used to become framed instances. Lacking of profound meaning, the objects are opened to perception, interpretation and critical reoccurrences.