Bringing the letters O and U together, Ode de Kort combines multiple works (both present and absent) through text, performance, installation, video and photography, consistently shifting from one work to the other. Central to De Kort’s practice is the thoughtof working-together, by appointing O and U as her co-workers, they inhabit every work the artist makes.
Based on (absent) text-films, the exhibition stages a play of transliteration from script to body and back.The text-films are solely on view at her solo show UU TWOO at De Brakke Grond, Amsterdam, opening on September 20, 2019. Deliberately aligning the titles of the two shows together, TWOO UU(SpazioA, Pistoia) and UU TWOO (De Brakke Grond, Amsterdam), both exhibitions present different scriptural choreographies based on the same text (a new artist book published at het balanseer), thus equally working-together.
In TWOO UU, the exhibition functions as a loop. Curves and lines mimic bodies of paper/screens/…, playing upon multiple perspectives, and are inhabited by text and absent performers. These ‘performers’, photographic registrations taken from two previously performed pieces called Walk with Uand O-arm, display the arms and legs of the artist and act as stand-ins for her absent body during the exhibition. Consequently, bodies become letters and letters become bodies.
Ode de Kort
Ode de Kort
Ode de Kort
ALESSANDRO MENCARELLI Home Detention
In continuation of his work that began as a criminal lawyer, Alessandro Mencarelli proposes a new encounter with the condition of those who must atone for their crime through the deprivation of their freedom. In this case, the place of detention is not the prison but the offender’s own home. This condition become possible when the sentence is nearing its end or whenever the period of detention is short.
A woman gazing out of a window is seen from the back. Before her eyes, a train passes by rapidly. Our first impression is that the woman is perhaps on another train headed who knows where. This is not the case, however. The woman is in her home. And in her prison. Her house is an old and abandoned signalman’s house where railway personnel assigned to servicing the tracks once lived. This is where the woman lives and serves her sentence, under home detention, without being able to leave, awaiting the return of her freedom, watching the trains that suddenly flash by at irregular intervals just one meter from her window, carrying passengers or freight to unknown destinations.
CREDITS Courtesy of SpazioA, Pistoia
Photos by Camilla Maria Santini
Wyn Evans’s research focuses on language and perception, and is characterized by the use of ephemeral elements such as light and sound, the use of montage as a compositional technique, and the imaginative potential of the word, as well as the centrality of the temporal and durational dimension in the experience of a work. At Pirelli HangarBicocca, Milan
For Standby Mice Station, with the full alliterative force of his deliberately nonsensical title, the artist has imagined just such an ensemble of new sculptures and images, the latter fashioned in that anachronistic technique of wood marquetry (mostly bygone in art, now more known in the realm of furniture making). at Kunsthalle Basel