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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

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'Weathered Shabby Shabby Brenches: Vernal Festivity of the Four Clari' by MRZB at

'Rose Button' by Romain Vicari at Placement Produit, Aubervilliers

'리좀적 주문 Rhizomatic Spell', a Group Show at Kvalitář, Prague

'Die ZWEITE HAND' by Niclas Riepshoff at Stadium, Berlin

'Bit Rot' by Bob Bicknell-Knight at Broadway Studio and Gallery, Letchworth Garde

'ALL ONE' by MYLASHER / Tine Günther at The Complex, Dublin

'Jacques de Bascher', a Group Show at Treize, Paris

'Confusion is next and next after that is the truth' by Jonathan Castro Alejos at

'Dewdrop Toadstool Hopscotch' by Isabelle Adams at Garthim, Mattheissen State Par

Behrang Karimi at Zarinbal Khoshbakht, Cologne

'Selfing' by Elif Saydam at MÉLANGE, Cologne

'From the Xmas Tree of Lucy Bull 2', a Group Show at From the Desk of Lucy Bull,

'Lotosesser' by Ernst Yohji Jaeger at 15 Orient, New York

'Smile, angry lamb', a Group Show Curated by Ilya Smirnov at Daipyat, Voronezh

'Sleep Ambassador' by Joe Greer at Sinkhole Project, Baltimore

Screening: 'Last Page', a clip by Nicholas Matthew Elstran featuring a track from

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