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'Know every way out of your house' by Andreea Anghel at Cave, Wrocław

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Exhibition view
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Andreea Anghel, I really miss Adorno, 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno, 2019
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Andreea Anghel, I really miss Adorno, 2019
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Andreea Anghel, I really miss Adorno, 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno (detail), 2019
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Andreea Anghel, I really miss Adorno, 2019
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Andreea Anghel, I really miss Adorno, 2019
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Andreea Anghel, Google Brain, 2019
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Andreea Anghel, Google Brain (detail), 2019
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Andreea Anghel, Google Brain, 2019
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Andreea Anghel, Google Brain, 2019
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Andreea Anghel, Unit of Displeasure, 2018-2019
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Andreea Anghel, Unit of Displeasure (detail), 2018-2019
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Andreea Anghel, Unit of Displeasure, 2018-2019
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Andreea Anghel, Unit of Displeasure (detail), 2018-2019
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Andreea Anghel, Unit of Displeasure, 2018-2019
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Andreea Anghel, Frozen assets (real estate), 2019
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Andreea Anghel, Frozen assets (real estate) (detail), 2019
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Andreea Anghel, Frozen assets (real estate) (detail), 2019
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Andreea Anghel, Frozen assets (real estate) (detail), 2019
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Andreea Anghel, Hothouse, 2019
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Andreea Anghel, Hothouse (detail), 2019
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Andreea Anghel, Hothouse, 2019
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Andreea Anghel, Hothouse (detail), 2019

High power, low self-esteem?
 Let’s have one last postmodern party for our dying homeworld, shall we?

Coleen Becker, art historian, described Aby Warburg’s work on the Mnemosyne Atlas (October 1929) as describing how fundamental images belonging to the Antiquity travel through time, or that of myths, resuscitated in recent times, signalling these elements as the manifestation of a collective psychic discomfort.


In simpler terms, according to Warburg, an older cultural form’s return usually signals a present psychological dysfunction, one that disrupts the individual as well as the collective mind. Becker furthers this idea by observing that “since these images are encryption’s of <<eternal truths>>, they function as contemporary vehicles whose function is to establish control over the irrational, even if the inherent belief in their premonitory power in itself lacks logic.”


And yet, we piss on those statues because we drink too much.

15.3.19

Curated by Barbara Żłobińska, Mariusz Maślanka

Cave

'ABSINTHE', Group Show Curated by PLAGUE at Smena, Kazan

'Pupila' by Elizabeth Burmann Littin at Two seven two gallery, Toronto

'Auxiliary Lights' by Kai Philip Trausenegger at Bildraum 07, Vienna

'Inferno' by Matthew Tully Dugan at Lomex, New York

'Зamok', Off-Site Group Project at dentistry Dr. Blumkin, Moscow

'Dog, No Leash', Group Show at Spazio Orr, Brescia

'Syllables in Heart' by Thomas Bremerstent at Salgshallen, Oslo

'Out-of-place artifact', Off-Site Project by Artem Briukhov in Birsk Fortress, Bi

'Gardening' by Daniel Drabek at Toni Areal, Zurich

'HALF TRUTHS', Group Show at Hackney Road, E2 8ET, London

'Unknown Unknowns' by Christian Roncea at West End, The Hague

'Thinking About Things That Are Thinking' by Nicolás Lamas at Meessen De Clercq,

‘Funny / Sad’, Group Show by Ian Bruner, Don Elektro & Halo, curated by Rhizome P

'Don’t Die', Group Show at No Gallery, New York

'Almost Begin' by Bronson Smillie at Afternoon Projects, Vancouver

'I'll Carry Your Heart's Gray Wing with a Trembling Hand to My Old Age', Group Sh

'hapy like a fly' by Clément Courgeon at Colette Mariana, Barcelona

'Fear of the Dark' by Jack Evans at Soup, London

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