Through March 11, T293 brings to the space new and recent artworks by Lucas Blalock, Simon Denny, Maggie Lee, Woody Othello, Hannah Perry, Lui Shtini and Anna Uddenberg.
The exhibition revolves around ideas of constructed identities, social labelling and stereotypes. All these artists play with these socially constructed identities, and dramatically alter their forms so to expose the frailty and vulnerability that is hidden behind their naïveté. The creative alteration of social stereotypes that is presented in this group show leads to a multitude of misunderstandings that is precisely what these artists look for in their yet different practices.
Indeed, such transformations and subsequent misinterpretations provide those forms, bodies and objects with the possibility of a defence in front of the inquisitive eye of the viewer. Their metamorphosis occurs as a way to safeguard the still unexpressed potentialities of their identities, that may want not to be completely seen, even when they ask to be seen differently.
Lucas Blalock's photographs of mundane objects blur the line between what is seen and what is real by altering the original image with evident traces of post-production processes that inevitably transform the identity of what is portrayed.
Simon Denny’s new sculpture represents the map of the Free Republic of Liberland, a self-proclaimed libertarian nation supposedly located in a 7 square kilometre delimitation zone under territorial negotiation between Croatia and Serbia.To explicate its (plausible) social activities the artist places on top of the map a second layer showing the winning result of an architecture competition to build on Liberland.
Maggie Lee's Mommy (2015) is a documentary about the artist' personal story and the loss of her mother. The story is told in chapters; yet, all the scenes progress, following one another in a restless process of accumulation of videos, photographs, texts, animations and sounds. Through the assiduous layering of all kinds of imagery, sound, and archival material, Lee wants the viewer to experience the narrative through all senses possible.
Othello's hyper-real ceramic sculptures resemble everyday objects like combs, a soap dish, a door handle, and a towel bar. Depicting the harms and marks outside stimuli have eventually left over these deteriorated items, Othello gives form to physical representation of emotional states.
In Hannah Perry's film Baby Brain (2016), the conflict arising from social conditioning takes the form of an intimate quest about the self, and how this self may perceive itself as a gendered subject. Hannah's film is composed by appropriated footage (YouTube, Snapchat) and footage she films herself on different devices depicting her everyday surroundings.
Working in portrait format just in order to subvert its conventions, Lui Shtini creates small paintings whose abstract forms undeniably evoke human features, like faces, moustaches and genitalia. Treating those skins as means of penetrating deeper into one’s psyche, Shtini's works are meant to elicit a very personal identification of the viewer with the image, forcing whoever looks at them to get lost into the vivid textures that compose them.
Through the feedback loop of consumerist culture Anna Uddenberg investigates how body culture, spirituality, and self-staging are intertwined with the mediation and production of subjectivity by new technologies and forms of circulation. Her practice is a space for reflecting on taste/class, appropriation, and sexuality, which integrates earlier approaches to gender theory while pushing these questions into new and intensively material territories.
Homo Mundus Minor
Through March 11